REVIEWS: LA FINTA AND LA RONDINE
posted by James Reel
I've gotten way behind in posting reviews and features I submit to various print publications, so let me now reach back a couple of years to a pair of my Fanfare reviews of video productions of not-quite-standard-repertory operas.
MOZART La finta giardiniera • Nikolaus Harnoncourt, cond; Eva Mei (Violante/Sandrina); Isabel Rey (Arminda); Julia Kleiter (Serpetta); Liliana Nikiteanu (Ramiro); Rudolf Schasching (Don Anchise); Christoph Strehl (Belfiore); Gabriel Bermudez (Roberto/Nardo); Zürich “La Scintilla” Op O • TDK DVBD OPFINT (Blu-ray Disc: 187:00)
Christopher Williams reviewed the conventional DVD version of this, along with a competing Salzburg Festival DG issue under Ivor Bolton, in Fanfare 31:1. Williams found that this Harnoncourt performance on TDK offered “a fulluer text, tighter ensemble, and more ‘traditional’ stagecraft,” but less dynamism in individual roles. Still, wrote Williams, “Harnoncourt delivers a lively and captivating performance with that characteristic Harnoncourt ‘bite’ and penchant for surging hairpin dynamics.” That Harnoncourt “bite” is difficult to discern on the DTS-HD audio track, which softens the orchestral attacks and puts the singers at a great distance; they’ve got less volume to cut through the swimmy acoustics than in the closer, clearer PCM stereo version, which presents everyone to much better advantage.
I agree with Williams that Christoph Strehl displays “a voice of spun (and occasionally crooning) gold,” but with the exception of Eva Mei, whose performance is notable for its balance of warmth with lightness and delicacy, the other singers fall a bit short of perfection. Liliana Nikiteanu lacks the stamina to carry her all the way through some phrases, and Rudolf Schasching can be a little coarse, vocally. Furthermore, the cameras aren’t always pointing at the right character. Even so, it’s overall an enjoyable performance, for more details on which you should consult the earlier review.
About this Blu-ray version, I’ll say that the picture is very crisp, with subtle gradations and shadings of color. There are no extra video features, though, and no onscreen scene selection menu beyond the division of acts; on the other hand, individual numbers are indexed, and listed in the booklet, which also includes a little multilingual essay by director Tobias Moretti on his concept—and that’s about it. So in terms of both packaging and performance, this is a very good release that could have been better. James Reel
PUCCINI La rondine • Carlo Rizzi, cond; Fiorenza Cedolins (Magda); Sandra Pastrana (Lisette); Fernando Portari (Ruggero); Emanuele Giannino (Prunier); Stefano Antonucci (Rambaldo); George Mosley (Périchaud); Iorio Zennaro (Gobin); Giuseppe Nicodemo (Crébillon); Andrea Zoppa (Majordomo); Sabrina Vianello (Yvette); Giacinta Nicotra (Bianca); Annika Kaschenz (Suzy); La Fenice O & Ch • ARTHAUS 101 330 (Blu-ray Disc: 106:00) Live: Venice 2008
Joel Kasow reviewed the DVD release of this production in Fanfare 32:3. My colleague is generally intolerant of updated stagings and Regietheater in general. Unlike Kasow, I believe that the story of Magda, a kept woman in fairly high society, still makes sense when transferred to the 1950s, so director Graham Vick has done absolutely no harm there. Some of his blocking, though, does the singers a real disservice. Fiorenza Cedolins has to sing the first half of her second major aria lying on her back on the floor, which does her tone and support no favors. Similarly, roly-poly Fernando Portari looks unintentionally comic when he’s playfully rolling around in the sand in the resort scene near the end (if he dropped a few pounds he could be a matinee idol, which is what every lead tenor should be). Kasow couldn’t warm up to most of the vocalism in this production, and indeed it’s competent but not special. The singing on a recent Naxos video of this opera (not issued on Blu-ray) is apparently quite mediocre, judging from Ray Tuttle’s review in Fanfare 33:1. This Arthaus release is clearly preferable. Alas, the surround-sound mix is cavernous and unpleasant, so stick to the PCM stereo. There were apparently no microphones in the audience, so during the applause we hear more chatter from the pit than clapping from the hall. There are no special video features, and the printed booklet consists only of a brief synopsis and background essay. Still, if you have Blu-ray capability, get this version, because the colors on the women’s party dresses in the first act really pop. James Reel
