Lucia Di Lammermoor (2pc) (Ws Sub Ac3 Dol Dts) [DVD]
ジャンル | Music Video & Concerts, Classical / Symphonies |
フォーマット | ドルビー, 字幕付き, ワイドスクリーン, クラシック, DTS Stereo, AC-3 |
コントリビュータ | Mariusz Kwiecien, Michael Myers, Tony Stevenson, Ildar Abdrazakov, Salvatore Cammarano, Colin Lee, John Relyea, Sir Walter Scott, Keith Miller, Piotr Beczala, Anna Netrebko, Marcello Giordani, Michaela Martens, Ren?e Fleming 表示を増やす |
言語 | イタリア語 |
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商品の説明
Anna Netrebko returns to the stage in the unforgettable Metropolitan Opera performance of Donizetti's Lucia Di Lammermoor! This DVD release was originally broadcast live in HD from the Met on February 7,2009.
登録情報
- アスペクト比 : 1.78:1
- メーカーにより製造中止になりました : いいえ
- 言語 : イタリア語
- 製品サイズ : 13.8 x 1.8 x 19.5 cm; 113.4 g
- EAN : 0044007345269
- 商品モデル番号 : 763749
- メディア形式 : ドルビー, 字幕付き, ワイドスクリーン, クラシック, DTS Stereo, AC-3
- 発売日 : 2009/11/10
- 出演 : Ildar Abdrazakov, Piotr Beczala, Mariusz Kwiecien, Colin Lee, Michaela Martens
- 吹き替え: : イタリア語
- 字幕: : 英語, ドイツ語, スペイン語, フランス語, イタリア語
- 言語 : 無条件, イタリア語 (DTS 5.1), イタリア語 (PCM Stereo)
- 販売元 : Universal Classics & Jazz
- ASIN : B002MEW7YY
- 脚本 : Salvatore Cammarano, Sir Walter Scott
- ディスク枚数 : 2
- カスタマーレビュー:
他の国からのトップレビュー
Milans
5つ星のうち5.0
Very good!
2023年12月23日に英国でレビュー済みAmazonで購入
Very good performance!
George
5つ星のうち5.0
Money well spent.
2021年1月12日にカナダでレビュー済みAmazonで購入
Beautiful production. Cast were all in excellent voice. Something worth watching and listening
Manuel
5つ星のうち5.0
Buen elenco de artistas y buena producción
2016年1月16日にスペインでレビュー済みAmazonで購入
Esta Lucia di Lammermoor de Nebrebko es una muy buena elección si se quiere una producción reciente, con un repertorio de artistas de gran calidad y una gran puesta en escena que, a pesar de estar presentada en el MET, no cae en los excesos en los que a veces incurre este teatro. Los cantantes, además, interpretan sobrada y adecuadamente sus papeles (algo cada vez más frecuente en la ópera actual). El coro es, quizá, el punto más flojo, pero en esta obra no tiene un gran protagonismo, así que tampoco le resta mucho a la valoración final.
HollyNYC
5つ星のうち5.0
Great Scot
2013年11月2日にアメリカ合衆国でレビュー済みAmazonで購入
This video presentation of "Lucia di Lammermoor" is a Metropolitan Opera production that opened the 2007-08 season, this particular performance is a live performance that was broadcast on high definition to movie theaters across America in February, 2009. I found this performance to be highly moving, poignant, and enjoyable. The director, Mary Zimmerman, creates an atmosphere through the production and performances that give this classic tragic opera, with its "Romeo and Juliet" tones of a doomed love affair between two members of warring clans, the feel of a Hammer horror film, which is not to say this a "dumbed-down" production or an exercise in directorial-indulgence in "opera-horror kitsch."
Ms. Zimmerman seems to understand that "Lucia" is, at heart, a horror story, and, like all great horror stories, it knows what scares us. This production over the years has received criticism for straying too far from the basic text; with the critics noting such directorial touches as showing the specter of the murdered young bride Lucia has visions of in the glade in Act I, and of having the cast members pose for photographs during the wedding reception near the end of Act II. Too much business, they say, or showing us literally what should be left to the imagination.
But opera, I feel, is a medium that is not always just about leaving things to the audiences' imagination. Opera, at its best, takes the audience members into the imagination; the imaginations of the characters and, most importantly, into the imagination of the opera's original creators. It is through this dynamic that opera can plumb the deepest secrets at the heart of the human experience. In the case of "Lucia," the opera is about delivering powerful insights into mortality, and death, and the agonizing question of what, if anything, we leave behind us when we disappear into the void. Whether we remain after death on this earth as a wraith or as an image in a photograph, Ms. Zimmerman is telling us, at best it is a faint image of who we were when we alive, and often a false image at that.
Natalie Dessay sang "Lucia" when this production premiered in 2007, by 2009, when it returned to the Met, Anna Netrebko, the Met's chosen superstar soprano, had assumed the role. In this performance Ms. Netrebko clearly shows why she has established herself as arguably the leading soprano of our age. Keeping her face mostly blank during this performance -- her Lucia seems to know that even her happiest moments will ultimately bring her nothing but grief -- she delivers a Lucia who, in the introductory words of Ms. Dessay is a "victim of men and circumstance" who can only claim her autonomy by stepping outside what passes for the moral pale.
Many productions present Lucia as a woman who is driven to the brink of madness, Ms. Zimmerman, wisely, casts her as sort of a fun house mirror image of Jack Nicholson's character in Stanley Kubrick's film version of "The Shining." There, Nicholson's character was over-the-top crazy from the word go, a dizzying black hole of energy, an example of American can-do spirit taken to its sociopathic conclusion. In this "Lucia," Ms. Netrebko perfectly captures the emotional toll taken by sensitive women in Victorian Scotland, where smiles are about as rare as actual sightings of the Loch Ness Monster. She just keeps internalizing the repression within, until she reaches the psychological tipping point. When this Lucia emerges from the bridal suite, wrapped in her blood-drenched gown, she's an avatar of the deepest psycho-sexual fears of both genders.
Ms. Netrebko's performance of the famous "mad scene," featuring flute and glass armonica solos under Marco Armillato's spirited direction, is heartbreaking, as we see and hear Lucia's imploding psyche with our own ears and eyes. Mariusz Kwiecien, as Lucia's conniving brother, brings a strong physicality to the role, and suggests that his relationship with his sister, may be more than kin and less than kind. The real story of the cast, however, may Piotr Beczala as Sir Edgardo di Ravenswood. In her introduction, Ms. Dessay tells us that Beczala is a last-minute replacement, and that "This could be his moment." He certainly seizes it, beginning with his initial duet with Ms. Netrebko near the end of Act I, winning over the Met audience, which is not always the most supportive of opera-goers.
This Deutsche Grammophon DVD, produced in partnership with the Met, features superior sound and picture quality. By this point the Met's production crews are veterans at presenting HD performances, and mix in enough mid-screen and widescreen camera angles and shots so that we can enjoy the full visual power of this staging, along with the requisite close-ups of performers and musicians. This package also includes a handsome booklet complete with synopsis, cast and production credits, and an essay on this production of "Lucia." Additionally, unlike several other Met HD videos I've seen, this "Lucia" has the between-acts interviews as separate features, enabling the viewer at home to watch the opera straight through, with no interruption.
Opera purists may question some of the directorial choices made in this "Lucia," then again, most opera purists would probably be against HD presentations to begin with. For general opera fans seeking to build their own home video libraries of the canon, this DVD of "Lucia di Lammermoor" is highly recommended.
Ms. Zimmerman seems to understand that "Lucia" is, at heart, a horror story, and, like all great horror stories, it knows what scares us. This production over the years has received criticism for straying too far from the basic text; with the critics noting such directorial touches as showing the specter of the murdered young bride Lucia has visions of in the glade in Act I, and of having the cast members pose for photographs during the wedding reception near the end of Act II. Too much business, they say, or showing us literally what should be left to the imagination.
But opera, I feel, is a medium that is not always just about leaving things to the audiences' imagination. Opera, at its best, takes the audience members into the imagination; the imaginations of the characters and, most importantly, into the imagination of the opera's original creators. It is through this dynamic that opera can plumb the deepest secrets at the heart of the human experience. In the case of "Lucia," the opera is about delivering powerful insights into mortality, and death, and the agonizing question of what, if anything, we leave behind us when we disappear into the void. Whether we remain after death on this earth as a wraith or as an image in a photograph, Ms. Zimmerman is telling us, at best it is a faint image of who we were when we alive, and often a false image at that.
Natalie Dessay sang "Lucia" when this production premiered in 2007, by 2009, when it returned to the Met, Anna Netrebko, the Met's chosen superstar soprano, had assumed the role. In this performance Ms. Netrebko clearly shows why she has established herself as arguably the leading soprano of our age. Keeping her face mostly blank during this performance -- her Lucia seems to know that even her happiest moments will ultimately bring her nothing but grief -- she delivers a Lucia who, in the introductory words of Ms. Dessay is a "victim of men and circumstance" who can only claim her autonomy by stepping outside what passes for the moral pale.
Many productions present Lucia as a woman who is driven to the brink of madness, Ms. Zimmerman, wisely, casts her as sort of a fun house mirror image of Jack Nicholson's character in Stanley Kubrick's film version of "The Shining." There, Nicholson's character was over-the-top crazy from the word go, a dizzying black hole of energy, an example of American can-do spirit taken to its sociopathic conclusion. In this "Lucia," Ms. Netrebko perfectly captures the emotional toll taken by sensitive women in Victorian Scotland, where smiles are about as rare as actual sightings of the Loch Ness Monster. She just keeps internalizing the repression within, until she reaches the psychological tipping point. When this Lucia emerges from the bridal suite, wrapped in her blood-drenched gown, she's an avatar of the deepest psycho-sexual fears of both genders.
Ms. Netrebko's performance of the famous "mad scene," featuring flute and glass armonica solos under Marco Armillato's spirited direction, is heartbreaking, as we see and hear Lucia's imploding psyche with our own ears and eyes. Mariusz Kwiecien, as Lucia's conniving brother, brings a strong physicality to the role, and suggests that his relationship with his sister, may be more than kin and less than kind. The real story of the cast, however, may Piotr Beczala as Sir Edgardo di Ravenswood. In her introduction, Ms. Dessay tells us that Beczala is a last-minute replacement, and that "This could be his moment." He certainly seizes it, beginning with his initial duet with Ms. Netrebko near the end of Act I, winning over the Met audience, which is not always the most supportive of opera-goers.
This Deutsche Grammophon DVD, produced in partnership with the Met, features superior sound and picture quality. By this point the Met's production crews are veterans at presenting HD performances, and mix in enough mid-screen and widescreen camera angles and shots so that we can enjoy the full visual power of this staging, along with the requisite close-ups of performers and musicians. This package also includes a handsome booklet complete with synopsis, cast and production credits, and an essay on this production of "Lucia." Additionally, unlike several other Met HD videos I've seen, this "Lucia" has the between-acts interviews as separate features, enabling the viewer at home to watch the opera straight through, with no interruption.
Opera purists may question some of the directorial choices made in this "Lucia," then again, most opera purists would probably be against HD presentations to begin with. For general opera fans seeking to build their own home video libraries of the canon, this DVD of "Lucia di Lammermoor" is highly recommended.
gillo
5つ星のうち5.0
Una performance come mai vista prima
2015年3月8日にイタリアでレビュー済みAmazonで購入
Ci sono decine e decine di "Lucia", tutte ben cantate e ben apprezzate (come non si potrebbe, con una cosi' bella musica); ma questa performance supera di gran lunga tutte le aspettative e tutte le precedenti edizioni. Non solo la Netrebko e' fantastica, ma anche Piotr Beczala (che sarebbe poi l'improvvisato sostituto di Rolando Villazon) ha cantato in una maniera verammente convincente ed appassionata. Un video questo che non dovrebbe mancare in nessuna collezione di amatore