Jules Massenet: Manon |  | Director: Vincent Paterson
Actors: Anna Netrebko, Rolando Villazon, Daniel Barenboim, Alfredo Daza, Christof Fischesser
Studio: Deutsche Grammophon
Category: DVD
List Price: $39.98
Buy New: $15.51
as of 3/21/2010 11:46 CDT details
You Save: $24.47 (61%)
New (16) Used (6) from $15.51
Seller: beaches_entertainment
Rating:  15 reviews
Sales Rank: 29347
Format: AC-3, Subtitled, Widescreen, Dolby, DTS Surround Sound, NTSC
Languages: French (Original Language), Chinese (Subtitled), English (Subtitled), French (Subtitled), German (Subtitled), Spanish (Subtitled)
Rating: NR (Not Rated)
Region: 0
Discs: 2
Aspect Ratio: 1.33:1
Number Of Discs: 2
Running Time: 158 Minutes
Shipping Weight (lbs): 0.4
Dimensions (in): 7.5 x 5.4 x 0.6
MPN: 001181609
UPC: 044007344316
EAN: 0044007344316
ASIN: B0012UQIW6
Theatrical Release Date: 2008
Release Date: September 23, 2008
Availability: Usually ships in 1-2 business days
| |
| Similar Items:
| |
| Editorial Reviews:
Product Description
DVD
|
| Customer Reviews:
Showing reviews 1-5 of 15
 Massenet March 8, 2010
Kathryn K. Cade (USA)
Long after watching the opera your mind is haunted by the beautiful music. Rolando Villazon's interpretation is what I have dreamed about all my life. He is the lyrics, and feels what the artist Massenet must have wanted to express when he created the opera. French music is a new high for me!
 Good choice February 1, 2010
Netrebko-fan (Espoo, Finland)
I ordered this dvd for my daughter, who in eager fan of opera and specially the Russian soprano Anna Netrebko. She liked it and was very satistisfied. The record came to Finland where we live in a short time and without any problems.
 Netrebko's Great Acting Not so good Singing!!! October 13, 2009
Allan Vanegas (Vancouver, BC)
1 out of 3 found this review helpful
I watched this performance and I am extremely satisfied with the production and the conducting of this beautiful and elegant music score. The production it self is very entertaining and nice to watch. The whole concept of the opera is excellent. The part that I was a bit dissapointed is the singing of Netrebko. I don't think her coloratura was that good. Her singing was lacking something. But, her acting was perfect. The moment she and Rolando were on stage it was beautiful and heart breaking. For the whole production and the rest of the cast is a full 5 stars but, because of the singing from Netrebko I gave this score a 3 stars. I have the Rene Fleming and the Natalie Dessay productions and both of their Manon are excellent.
Paris is a feast! July 30, 2009
Ali Hassan AYACHE (São Paulo, Brasil.)
0 out of 1 found this review helpful
What happens when a beautiful soprano singing next to a great tenor? We have a great opera, this conclusion may seem obvious, but not always exceptional singers together make great operas. There has to be chemistry, they must be free to show its full potential. In this version of Manon Massanet have an explosion of elements, all positive, all exciting, all lead to a great show.
Anna Netrebko has been prominent in the opera scene by physical beauty, her stage presence is contagious grown men and women. The dramatic acting, great actress, you know to capture the feeling of the character and express it. The voice of beautiful timbre, lyrical, a little dark, powerful, well designed. A Russian singer has all the elements of a great modern soprano, voice, acting and physical beauty.
Are very comfortable in Manon, ask the French accent, but it goes unnoticed when we hear arias: Adieu, notre petite table or Obéissons, quand leur voix appelle. From naive girl on the way to the convent for the consecration in Paris (Part one emerging unforgettable) and decay in prison. It demonstrated very convincingly by a superb performance. This is a modern singer, that's twenty-first century opera, a union of elements of art. It renews and attracts public.
The Mexican tenor Rolando Villazon follows the same standards of quality, his Le Chevaliers Des Grieux evolves young, naive and full of love for a grown man and bitter. His voice tries to follow the evolution of the character, the lyrical passages does very well in the dramatic pieces missing weight. It works well alongside the protagonist, embodies the character, is comfortable in the role, rather than the previous version with Natalie Dessay in Paris, 2007.
Comprimários The highlights are: Christof Fischesser makes Le Comte des Grieux, paper down voluminous voice. He is too young, just remember the father of the protagonist and his voice is more baritone that down. The Lescaut Afredo Dasa baritone voice is clear with good musicianship and performance.
Daniel Baremboin is a fashionable pianist and conductor of world renown, is governed by orchestras all over the world. I always thought it better on the piano. In Berlin Staatskapelle baton of their time are too slow, perhaps to help the singers to interpret, but no breath! But that makes the reading of the work monotonous, sometimes tiring, arias that excite the public are little applause. Loses to music, get the theater.
The direction of Vincent Paterson captures the essence of the work of Massanet, does not sit, modernizes the reading. Carries the work to Paris for 50 years, with train arriving Manon, parties at the foot of the Eiffel Tower and the grace of Hotel Transilvania are dynamic elements. Explores the dramatic potential of the singers, move them without exaggeration. The perfect light, help and encourage, directors this time is understood, had the same design. Costumes consistent with the time chosen, flawless, perfect finish, in the city carry light from the 50's. This opera is introducing a new variable, makeup, never seen work so well executed. Choir or are impeccably costumed actors, with the advent of high definition make-up gave a leap.
Comparing the first Manon I attended with Edita Gruberova letter of 1983 in Vienna with the newly released Netrebko, there is an evolution, such as opera recordings have changed in those 25 years. The opera is theater that corner, the VHS are in high definition DVD, the productions are infinitely more whimsical, resemble a large theater or Broadway productions. We have interviews with actors and directors, choice of chapters and a booklet with the article and summary of the opera, all in English of course.
Vocally I prefer with Manon Gruberova or with Beverly Sills in 1977 in New York City Opera. The Manon of Netrebko and Villazon back a new language, modern, current, charismatic. In the era of Internet, digital music, speed, use disposable, opera seems an aberration. But she finds a way, renewing the public and will always be reborn as Phoenix.
Paris é uma festa!
O que acontece quando um belo soprano canta ao lado de um grande tenor? Temos uma grande ópera, essa conclusão pode parecer óbvia, mas nem sempre excepcionais cantores juntos fazem grandes óperas. Tem que haver química, eles tem que estar à vontade para mostrar todo o potencial. Nessa versão da Manon de Massanet temos uma explosão de elementos, todos positivos, todos empolgantes, todos levam a um grande espetáculo.
Anna Netrebko tem se destacado no cenário lírico pela beleza física, sua presença no palco contagia marmanjos e senhoras. Pela atuação dramática, grande atriz, sabe captar o sentimento do personagem e expressá-lo. Pela voz, de timbre belo, lírico, um pouco escuro, potente, bem projetado. A cantora russa tem todos os elementos de um grande soprano moderno, voz, atuação e beleza física.
Está muito a vontade em Manon, peca no sotaque francês, mas isso passa despercebido quando ouvimos suas árias: Adieu,notre petite table ou Obéissons , quand leur voix appelle. De menina ingênua a caminho do convento para a consagração em Paris (Faz uma emergente inesquecível) e a decadência na prisão. Tudo demonstrado com muita convicção através de uma atuação soberba. Isso é uma cantora moderna, isso é ópera do século XXI, uma união de elementos da arte. Isso renova e atrai publico.
O tenor mexicano Rolando Villazón segue o mesmo padrão de qualidade, seu Le Chevaliers Des Grieux evolui de jovem, ingênuo e cheio de amor para um homem maduro e amargurado. Sua voz tenta acompanhar a evolução do personagem, nas passagens líricas se sai muito bem, nas partes dramáticas falta peso. Atua bem ao lado da protagonista, incorpora o personagem, está a vontade no papel, melhor que na versão anterior com Natalie Dessay em Paris , 2007.
Os comprimários de destaque são: Christof Fischesser faz Le Comte des Grieux , papel para baixo de voz encorpada. Ele é jovem demais, pouco lembra o pai do protagonista e sua voz está mais para barítono que para baixo. O Lescaut de Afredo Dasa é barítono de voz clara com boa musicalidade e atuação.
Daniel Baremboin é um badalado pianista e maestro de renome mundial, rege orquestras pelos quatro cantos do mundo. Sempre achei ele melhor no piano. Na batuta da Staatskapelle Berlim seus tempos são excessivamente lentos, talvez seja para ajudar os cantores a interpretarem, senão haja fôlego! Mas isso torna a leitura da obra monótona, as vezes cansativa, árias que empolgam o publico são pouco ovacionadas. Perde a música, ganha o teatro.
A direção de Vincent Paterson capta a essência da obra de Massanet, não se acomoda, moderniza a leitura. Transporta a obra para a Paris dos anos 50, trem chegando com Manon, festas aos pés da Torre Eifel e a graça do Hotel Transilvania são elementos dinâmicos . Explora o potencial dramático dos cantores, movimenta-os sem exageros. A luz perfeita, ajuda e estimula, diretores dessa vez se entenderam, tiveram a mesma concepção. Figurinos condizentes com a época escolhida, impecáveis, perfeitos no acabamento, nos transportam a cidade luz da década de 50. Essa ópera inaugura um novo quesito, maquiagem, nunca vi trabalho tão bem executado. Coristas ou protagonistas estão impecavelmente maquiados, com o advento da alta definição a maquiagem deu um salto qualitativo.
Comparando a primeira Manon que assisti com Edita Gruberova datada do ano de 1983 em Viena com a recém lançada da Netrebko, existe uma evolução, como as gravações de ópera mudaram nesses 25 anos. A ópera é mais teatro que canto, do VHS estamos no DVD de alta definição, as produções são infinitamente mais caprichadas, lembram grandes peças de teatro ou produções da Brodway. Temos entrevistas com os protagonistas e diretores, escolha de capítulos e um encarte com artigo e resumo da ópera, tudo em inglês é claro.
Vocalmente prefiro a Manon com a Gruberova ou com Beverly Sills em 1977 na New York City Opera. A Manon da Netrebko e do Villazon trás uma nova linguagem , moderna, atual, carismática. Na era da internet, da música digital, da velocidade, do consumo descartável, ópera parece uma aberração. Mas ela encontra um caminho, renova o público e como Fênix sempre renasce.
Ali Hassan Ayache
magnificent January 9, 2009
Armando Lara Rosano
1 out of 1 found this review helpful
Excellent performance from both, Villazón and Netrebko, definitely there's an outstanding chemistry between them tnat enchantes the audiences. Highly recommended version.
Showing reviews 1-5 of 15
|
|
|
News 
