Donizetti - Anna Bolena / Bonynge, Sutherland, Morris, Canadian Opera Company

Gaetano Donizetti was a composer at full speed. Operas flowed one after the other, contained in your resume more than 70. The style has always remained, but when it came Belcanto, Donizetti dominated, was unbeatable. Anne Boleyn is one of the three operas he made about the Tudor queens. His last performance was given in 1881 in Livorno. Was forgotten, languishing in the archives until you get to a Greek or American talent, never to know her nationality. Maria Callas Anna Bolena unearths, with Giulietta Simionatto and direction of Luchino Visconti makes a memorable show at Scala in 1957. After her, the great dramatic sopranos realized the potential of opera, who does not want to be cheered by the final scene. Leyla Gencer, Beverly Sills, Renata Scotto, Joan Sutherland and Dimitra Theodossiou interpreted the complex character, over the decades. There are two commercial versions available on video. The earliest was recorded in Canada in 1984 with Joan Sutherland, James Morris and Judith Forst. Baton of Richard Bonynge and Ben Heppner in early career, playing the role of Hervey. Portrait of its time, this assembly is tradition squared. Costumes loaded, little or no scenic interpretation. Everyone Paradita, beautiful singing. Everything in its place, the light is a constant shadow. The direction is limited to tell a story, transcribes what is in the libretto faithfully and nothing more. The highlights for the voices, all the soloists are of feedback. Sutherland has great agility of a coloratura soprano, her timbre like, though his diction is weak. Baritone James Moris are legitimate, not those that currently exist, has those serious and bulky caracteríticos full of singers of the past. Judith has Fosrt voice thick, enormous. The regency of my husband (of Sutherland) Boninger is classic, no innovations. The analog picture and sound are a little lacking for supporters of Blu-ray. Anna Boleyn of Bergamo, recording made in 2006, is the opposite of Canada. His direction is impeccable, not only transcribes the lyrics, but makes a theatrical release. Provokes the viewer calls for reflection. The scenario stands possess the background, always present with members of the choir. The director's reading is clear, the life of the royals is public, no private space. The soloists do not have the same level voice of the Canadian version is in hand, they act, give realism to persongens. The light is part of the scenery, the costumes are lightweight and digital recording leaves everything in line. Hear snakes and lizards Dimitra Theodossiou, but the soprano is based on Belcanto. Your voice can agility in difficult coloraturas, turns power and technique, but gets worn out in the end. The other soloists are guaranteed, all sing and act, that's modern opera. Both versions show the evolution of opera. From traditional to modern reading assembly. Basic scenario of a vision, a way of telling the story, a provocation. All aspects related to production have evolved. Settings, costumes, lighting, color, movement choir, recording, direction of scenes and so on. Won the opera, which advanced in time, seeking to renew its modernized public. Recordings of the century are thought to video. But not everything is perfect, the voices of the past were higher than the present.Portuguese:Gaetano Donizetti era um compositor a toda velocidade. Óperas fluiam uma atrás da outra: constam em seu currículo mais de 70. O estílo sempre se mantinha, mas, quando o assunto era belcanto, Donizetti dominava, era imbatível. Anna Bolena é uma das três óperas que ele fez sobre as rainhas Tudor. Sua última apresentação se dera em 1881, em Livorno. Ficou esquecida, mofando nos arquivos, até que aparece uma grega ou americana talentosa, nunca sei a nacionalidade dela. Maria Callas desenterra Anna Bolena, juntamente com Giulietta Simionatto e a direção de Luchino Visconti faz um espetáculo memorável no Scala, em 1957. Depois dela, os grandes sopranos perceberam o potencial dramático da ópera, quem não quer ser aplaudido pela cena final. Leyla Gencer, Beverly Sills, Renata Scotto, Joan Sutherland e Dimitra Theodossiou interpretaram a complexa personagem, no decorrer das décadas. Existem duas versões comerciais disponíveis em vídeo. A mais antiga foi gravada no Canadá, em 1984, com Joan Sutherland, James Morris e Judith Forst. Regência de Richard Bonynge e Ben Heppner em início de carreira, fazendo o papel de Hervey. Retrato de sua época, essa montagem é tradição ao quadrado. Figurinos carregados, pouca ou quase nenhuma interpretação cênica. Todo mundo paradinho, cantando bonito. Tudo no seu devido lugar, a luz é uma penumbra constante. A direção se limita a contar uma história, transcreve o que está no libreto com fidelidade e nada mais. O destaque fica para as vozes, todos os solistas são de gabarito. Sutherland tem agilidade de um grande soprano coloratura, seu timbre agrada, entretanto sua dicção deixa a desejar. James Moris é barítono legítimo, não desses que existem atualmente, tem aqueles graves cheios e volumosos caracteríticos dos cantores do passado. Judith Fosrt tem voz densa, enorme. A regência do maridão (da Sutherland) Boninge é clássica, sem inovações. A imagem e o som analógicos deixam a desejar aos adeptos do blu-ray. A Anna Bolena de Bergamo, gravação realizada em 2006, é o oposto da canadense. Sua direção é impecável, não transcreve apenas o libreto e sim faz uma versão teatral. Provoca o espectador, chama à reflexão. O cenário possuí arquibancadas ao fundo, sempre presentes com membros do coro. A leitura do diretor é clara, a vida dos membros da realeza é pública, não existe espaço privado. Os solistas não têm o mesmo nível vocal da versão canadense: em contrapartida, atuam, dão realismo aos persongens. A luz faz parte do cenário, os figurinos são leves e a gravação digital deixa tudo nos conformes. Ouvi cobras e lagartos de Dimitra Theodossiou, mas o soprano se sustenta no belcanto. Sua voz consegue a agilidade nas difíceis coloraturas, despeja potência e técnica, mas chega desgastada no final. Os demais solistas se garantem, todos cantam e atuam , isso é ópera moderna. As duas versões mostram a evolução da ópera. De montagem tradicional a leitura moderna. De encenação básica a uma visão, uma forma de contar a história, uma provocação. Todos os aspectos referentes a produção evoluíram. Cenários, figurinos, luz, cores, movimentação de coro, gravação, direção de cenas e etc. Ganhou a ópera, que avançou no tempo, se modernizou buscando renovar seu público. Gravações do século XXI são pensadas para o vídeo. Mas nem tudo é perfeito, as vozes de outrora eram superiores às atuais.

Though I was scepticle, I must agree with previous reviewers that after seeing/hearing this DVD of a favorite opera, "Anna Bolena", Ms Sutherland was still "La Stupenda". Yes there were transpositions and yes there were cuts but she has given us a great performance to enjoy and cherish. She was a big horsey woman who was never a beauty but that face can convey pathos, charm, innocent happiness and deep dispair. And the voice was still right on pitch, accurate on inflexion and nuance. WOW she was still in top form. We are truly fortunate to have this document to remember one of the truly great singers of this or any age. The production is lush and regal; quite worthy of Henry Tudor's court. And the Henry of James Morris is also worthy of that court. His is a headstrong, impetuious and very virile performance of a role that too often is unnoticed. His great Woton years were just begining and his voice and being truly became the part of Henry.The opera itself is such a great achievement one cannot understand that after it ill-fated first performances in the 1830s (New Orleans 1839 the last) it was not done again until 1957 with Callas. In my opera books of the 1950s it's not even mentioned. Fortunately I was able to see Sills in a couple performances and she truly invaded the part. Both Sills and Sutherland were skilled interpreters of this gloriuous role and I hope to see many more performances of this beautiful opera.

EXCELLENT Sutherland! Rather than being 'slightly' past her vocal prime, as so many reviewers relish pointing out ... I would say this is from the stage of her career where she is ENUNCIATING clearly (something she did NOT do so well in the good old bad old days).Unhesitatingly recommended, this is one of the best opera DVDs I've ever experienced, a true joy. No eurotrash and no lip-synching here, just a great dramatic and musical stage experience. Audio is recorded at a slightly lower than average level, so just turn the volume and bass up a little, sit back and enjoy :)

There are three definitive Annas: Callas, Sutherland, Sills, Of the three, only Sutherland was filmed in the role. Thus, this DVD becomes a permanent testimonial to La Stupenda, as are all of her other DVD's. She is, as usual, in formidable voice; and her stage presence is much improved, given her total immersion in the role. Morris is in fine voice as Henry the 8th, and Forst proves her command of bel canto. My only other DVD of this opera is with Nebretko, fine, but lacking the aura of mystique any performance by Dame Joan creates.

This production is from the old-timers.With Sutherland, James Morris and Richard Bonynge in it and other old hands at staging, lighting, costume designing, etc., it can't go wrong.Too bad the new generation productions are mostly trash.

This is a very lonnnngggg opera and Joan should have passed on Anna as she didn't have the stamina nor the voice to pull it off. Having heard her in the earlier years, this is almost embarrassing to witness her decline vocally. I bought it based on the customer reviews of the supporting cast and production. Found the customer reviews very accurate in my opinion. I loved the costumes and the sets were just perfect as well. Joan's hubby did a commendable job in the pit with a responsive orchestra. The star turn was James Morris' Henry the VIII! Wow! Forst was fine and Heppner, though a tiny role, demonstrated that this was a voice with immense promise. Don't believe there is another video available to rival this one. The only other recommendation is Beverly Sills' CD for this opera. Somehow, I had a difficult time avoiding boredom with this performance except for Morris. Maybe repeated viewings will improve my opinion. Ok if you can forgive Joan for growing old, losing her support and along with it her middle and low voice. Her high notes pinched with a very wide vibrato. I just felt sorry for her - she was exhausted and it showed!

Loved everything about it !!

Also Joan Sutherland live auf der Bühne oder vor der Kamera zu besitzen ist für mich ein absolutes Muss an immerwiederkehrender Genuss während des Anschauens aller DVD's von Joan Sutherland. Sie ist für mich die Primadonna, die Göttin am Opernfirmament. Joan Sutherland ist einfach meine Opern-Traumfrau, an Anmut, Liebenswerigkeit, Tugend, Majestätische Eleganz, süßer und leidender Dramatik und auch witziger leichtfertiger Humor. Der Stimmumfang ist für mein Geschmack ein so absoluter Hochgenuss, dass ich nie missen möchte. Ihren Charme und Liebreitz und auch würdevolle Erscheinung lässt mich einfach verwöhnen. Ich würde Joan Sutherland galant und würdevoll auf die Knie fallen und Ihr lächeln charmand einen Handkuss erteilen. Sie ist für mich einfach die Größte.

This DVD is technically poor. It is blurred and comes with English subtitles only. These are fixed on the screen. This and the blur indicate that the DVD has simply been taken from an old video-tape. Buyer beware!

Shuterland magnifica. Grabaciom amtigua con un grave defecto, no se pueden eliminar los subtitulos en ingles. Por lo demás es una obra imprescindible pese a estas deficiencias.

この映像ディスクは1984年にトロントで行われたカナダ・オペラ・カンパニーによる「アンナ・ボレーナ」の公演を収録したもの。映像フォーマット：4:3/カラー 音声フォーマット：モノラル　リージョンコード：不明（日本のプレーヤーで見られたので多分all region）　収録時間：約157分ドニゼッティの出世作品「アンナ・ボレーナ」はM.カラスが手掛けてその生命が蘇ったが、その後スリオティスがそれに続き、シルズ、カバリエ、スコットとその時代のディーヴァが演じた。サザランドがこの役を手掛けたのは意外に遅く、この1984年のカナダの公演が最初だった。58歳の時である。恐らくもっと早い段階で作品の勉強をしていたと思うが、実際に歌うのに慎重だったのだろう。他のパートにも人を得ないと成功しない作品である。私は19世紀前半のオペラにカットして良い箇所は殆どないと考えているが、この公演では実際的な問題からか、反復部が結構多くカットされているし、最後のアンナの狂乱の場の前のペルシーの場面が丸々カットされている。「アンナ・ボレーナ」は２幕作品だが、この公演では３幕作品として上演されていた。実際この公演は侮れない出来栄えである。最盛期を過ぎたとはいえ、サザランドの力が十二分に発揮されている。声に厚みが無くなってはいるものの、美しさは相変わらず。丁寧な歌い口がアンナの心理の襞を余すところなく表現している。言葉捌きも良い（これを聴くとカバリエが言葉を軽視していることが良く分かる）。また見た目が美貌のアン・ブーリンとかけ離れているにしても、演技も中々のもの。声を守る歌い方（発声の為か屡々顎を上げる）が所々あるにしても、声をストレートに使い旋律線を明確に造り上げるその歌唱はドニゼッティの作品の魅力を高めている。装飾にしても旋律を邪魔することなく音楽的に処理されている。ただ疑問なのが、最後のカバレッタ「Coppia iniqua」を原調のes durからdes durに移調して歌っていること。最後の音を１オクターヴ上げる為の措置なのかもしれないが、ドニゼッティは３点esを要求していない。カラスもこの音を記譜通りに歌った。des durの彩はやや燻んでいるので、明確な意志を持ったこの最後の歌に相応しくない。1970年代ならサザランドも原調で歌ったことだろう。悪名高いエンリーコ８世（ヘンリー8世）はJ.モリス。輪郭の明確な声と歯切れの良い歌唱で気持ち良さげにエンリーコを演じている。自分の気に入らなくなった人間を平気で殺すことに何の躊躇いもない非道で短絡的な男を正攻法で描いている。上背の高さも役に立っている。技巧的な部分にもう少し滑らかさがあると、音の動きからもエンリーコの描写が濃くなったと思う。新しいエンリーコの情人ジョヴァンナ・シムール（ジェーン・シーモア）はJ.フォースト。声種が記されていないので正確には分からないが、多分ソプラノ。整った容姿に的確な演技、美しい声と確実な技術、ニュアンスに富んだ歌唱で申し分のない出来栄えを見せてくれた。日陰者の苦悩が全身から滲み出ている。エンリーコへの思慕がもっと強く出れば、更に説得力が出ただろう。アンナとの二重唱も素晴らしく、実際イニシアティヴを執ったのはフォーストだった。ペルシー（パーシー）卿はM.マイヤース。直ぐにイギリス系と分かる歌唱だが、声は申し分なく歌にも情熱が籠もっている。ドニゼッティを歌いこなせる技術もきちんと持っていて、安心して聴くことができた。ペルシーは第一テノールの役とは言えそんなに特徴のある役でなく、どちらかと言えば脇役に近い。その微妙な立ち位置をマイヤーは的確に捉え、ペルシーという人物を過不足なく描いた。他、ロシュフォール卿がG.サックス、スメートンがJ.スタッブス、エルヴェイ（ハーヴィ）がB.ヘップナーという面々。いずれも適材適所。特にエルヴェイのヘップナーは後に有数のヘルデン・テノールに数えられる片鱗をこの頃から聞かせていて、栴檀は双葉より芳しを実感させた。合唱も良いハーモニーを作り、場面の色彩感をきちんと出していた。これは大切なことである。また、エキストラを含め舞台に立つメンバーは全て容姿と演技力に優れ、見る側を不快にしない。舞台装置は簡素だが、必要十分。衣装も時代に即したもので、見ていて納得する。指揮のボニングはサザランドを筆頭に歌手陣を活かす音楽を作っていた。かと言ってドラマ無視の伴奏に堕しているわけではない。19世紀前半の音楽の特徴をしっかり掴みながら歌が生み出すドラマを過不足なく作り出しているのである。映像は1980年代のライヴとしてはまずます。ある箇所でハレーションを起こしているけど、鑑賞の妨げにはならなかった。