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4 customer reviews

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Product Details

  • Actors: Anna Netrebko, Keith Miller, Tony Stevenson, Marcello Giordani, John Relyea
  • Writers: Salvatore Cammarano, Sir Walter Scott
  • Producers: Peter Gelb
  • Format: AC-3, Classical, Dolby, DTS Surround Sound, DVD-Video, Live, Subtitled, Widescreen, NTSC
  • Language: Italian
  • Subtitles: Chinese, English, French, German, Italian, Spanish
  • Dubbed: Italian
  • Region: All RegionsAll Regions
  • Aspect Ratio: 1.78:1
  • Number of discs: 2
  • MPAA Rating: NR
  • Studio: Universal Music Canada
  • Release Date: Dec 1 2009
  • Run Time: 142 minutes
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (4 customer reviews)
  • ASIN: B002MEW7YY
  • Amazon Bestsellers Rank: #10,451 in DVD (See Top 100 in DVD)
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Customer Reviews

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Most helpful customer reviews

1 of 1 people found the following review helpful By Gary Sourourian on Feb. 8 2013
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Very lovely production. I love the intro to the story of this Opera and the little interviews of the Soprano before the mad scene.
I can't give this production a 5 star cause of the ending of the Mad scene. It was rather a soft finish.
As I sat there anxiously waiting for Netrebko to finish the flute scene with a high note, she took a dip and finished so softly. I was disappointed but it doesn't mean she can't reach those notes, it means the decision to vary the ending is probably questionable. Oh well. Still a wonderful Opera.
Bass was great, Tenor was amazing I think I'm starting to really like Beczala, I could care less for the Baritone, maybe it was more stage presence rather than vocals. Not sure yet.
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1 of 1 people found the following review helpful By jotaprimero on Sept. 16 2013
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While it does not overshadow other past performances, it glitters in its own right, and La Netrebko's brilliance and interpretative skills remains unburnished and hopefully stay that way....for a long time to come.
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3 of 4 people found the following review helpful By Don on Oct. 29 2011
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I had only seen one performance of this opera before purchasing this DVD. That was at the Vancouver Opera back in the 1960's. It starred Joan Sutherland in the title role. As I remember I was not all that inpressed.

However, I am now a convert. The complete production is nothing short of spectacular. All of the cast rise to the occasion with Anna Netrebko as the icing on the cake.
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Anna Netrebko always captivates and this performance is no exception. The staging is brilliant and so is the orchestra. Many great recordings of this brilliant Donizetti jewel exist and this one sparkles brightly among them.
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Most Helpful Customer Reviews on (beta) 56 reviews
111 of 115 people found the following review helpful
Wow! April 7 2010
By Thomas Ascher - Published on
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I almost didn't purchase this based on some of the negative, nit-picking reviews I've seen here at Amazon. I own many other Lucias including Anna Moffo, Sutherland, Bonfadelli, Devia, Rancatore and Ciofi. Some of these are very good. But Netrebko's performance is something else again. She is indeed a Lucia for the ages. She has youth, vivacity, presence, sparkle, charisma, visually and aurally that delights the senses. This is full blown MET spectacular. Scenery, costumes, direction, sound, everything comes together in a gorgeous, iconic production. Don't let the nit-pickers dissuade you from owning and delighting in this gem!
34 of 35 people found the following review helpful
Loved this Jan. 20 2010
By Rachel Klika - Published on
I saw this originally during the Live in HD presentation and loved it. Other people (more experienced than I, probably) may not like it all that much, but I think it was fantastic (much more enjoyable than the Joan Sutherland version I first saw). I loved the update to the Victorian period and the sextet in Act II just gave me chills (not a common experience for me).

Mariusz Kwiecien is now one of my favorite baritones, due to this role (and hopefully will maintain that in the Live in HD's Carmen). His voice, his acting, his looks... I think they fit the role really well, and I can really see him as brother to Netrebko's Lucia.

Anna Netrebko? I think she was wonderful, despite all the criticism she receives. Perhaps not the best ever, but I think she has the talent (and the looks, of course) to really draw new people into opera and get them hooked.
23 of 26 people found the following review helpful
An excellent version of one of my favorite operas! Dec 27 2009
By operadevotee - Published on
Production: Dark, eerie and actually how I always envisioned it. The entire mood fits the music perfectly. I love the addition of the ghost.

Lucia: Anna Netrebko offers a more than adequate rendering of this difficult role. In my humble opinion, Sutherland, Devia, Callas and June Anderson are among the best Lucias with Mariella Devia and June Anderson being my personal favorites. Keeping in mind that every singer misses notes on occasion, I think people get hung up on how many notes Ms. Netrebko misses and seem to forget that she not only has a beautiful instrument with superb breath control but she's also a fine actress. She's smart in her vocal interpretation as she carefully maneuvers around the difficult coloratura passages. In the mad scene, I was particularly impressed with her staccato notes, and am thankful for her attempting to, and subsequently nailing the high note at the end! Thanks to her riveting acting and singing, the mad scene does not disappoint.

Edgardo: Piotr Beczala has an elegant and almost regal sound to his voice and his acting skills are exceptional.

Enrico: Mariusz Kwiecien is menacing and kind of creepy. He has a sturdy and strong baritone voice and is also an excellent actor.

Raimondo: Ildar Abdrazakov is sympathetic and convincing with a great voice!

Bonus: Natalie Dessay is the best hostess in each of these Live in HD series.

Bottom line: A fantastic recording of Lucia that I highly recommend!
15 of 16 people found the following review helpful
Terrific and Dramatic! Sept. 26 2010
By Dr. John W. Rippon - Published on
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I've seen dozens of Lucias starting in the 40's with Lily Pons (still one of the most exciting) but the opera Lucia became tugid and dull; only a vehicle for a soprano that had (or thought she had) a coloratura voice. Good ones Moffo, Callas, Sills etc. and bad ones Ricciarelli, Scotto and many others who continued to sing long after their voice had gone. In most performances the other cast members were mere automatons that parked and bellowed with an arm extended. The present performance was superior to all others I've seen because it was a total theatrical experience. All the cast was involved in the drama and drama it was. This was due to the genius of Mary Zimmerman. Her concept initially turned me off when I first read about it. But when I saw it was revelation. The cast sang and acted! The tenor Piotr Beczala as Edgardo, M.Kwiecin as Enrico (what an evil!), and the Raimondo of I. Abdrazakov were all stellar in their roles. In most past performances who remembers anyone but the soprano. In this one we remember them all. No, Netrebko is not a full bel canto but she is a great actress and a fantastic singer. It was a great evening. And yes I loved the Victorian ghost story.
93 of 117 people found the following review helpful
Have real trouble defining this mixed bag... Dec 6 2009
By A. F. S. Mui - Published on
I am a great fan of Donizetti's 'Lucia di Lammermoor', harking back to the late 1950's Dame Joan Sutherland portrayal of Lucia.
I do not care for the Sutherland DVD of the early 1980's, though, and any one who considers that 'that' performance represents Dame Joan's Lucia would simply be way far off the mark.
Of the available DVDs, Jose Carreras/Katia Ricciarelli/Leo Nucci/Gardelli offered a very first rate performance recording in the 1982 Bregenze theatre. Even though Ricciarelli's voice was already on the downhill trend in that performance, she is still the BEST Lucia on DVD in terms of vocal acting, stage presence, and ultra-fine stage acting. I would even say in terms of looks, she had a definite edge over Anna Moffo. The best all-round portrayal of Edgardo, Lucia and Enrico in that Bregenze performance, even if Ricciarelli did not have the high notes to perfection.
This is NOT to mention Maria Callas' 1953 recording with Giuseppi di Stefano under Tullio Serafin, which remained the benchmark of performance despite Dame Joan Sutherland's illustrious portrayal later.
There is a third DVD of this opera that is worthy of mention - the La Scala recording in 1992 of Mariella Devia. Though not visually a great Lucia, Devia's coloratura is simply the BEST around in this era. Hers is the idiomaticity, the nuances, the width and breadth of expressions required of this title role. A spine tinging performance in the first Act and the Mad Scene.
Back to this MET 2009 production.
Musically it isn't bad at all.
Even though Anna Netrebko in the title role failed to deliver a distinguished Lucia, hers is still a sterling performance in that the top notes are loose and free, and the vocal delivery of the Mad Scene among the most secure EVER, and rightfully the best CURRENTLY available.
What troubles is her characterisation in the first Act. Netrebko is a trival too vivacious as the Lucia mourning her mother, troubled by her love, and apprehensive of her own future, even though she is very much in love with Edgardo. The light-heartedness as portrayed in this Act is clearly off the mark.
The duet in the second Act with Enrico is one of the high lights of this production, and Kwiecien and Netrebko rise to the occasion admirably. even though they do not surpass the absolutely great performance by Nucci and Rcciarelli in the Bregenze live performance.
The sextet is the biggest flop of this MET production. The dramatic tension, the pathos, the conflict...all worn down by the photographer in the form of an aimless busybody. WHAT A WASTE!
Then the great Mad Scene. Netrebko is great here vocally, but again, not so great visually. Instead of mapping out her actions with the music, Netrebko has adopted other gestures and movements that are theatrically sound, but musically distracting. If you compare her gestures with those of Katia Ricciarelli, you would be surprised that how much more 'with the music' was the latter's movements and gestures. In this respect, early bel canto specialists like Leyla Gencer, Monserrat Caballe, and even Katia Ricciarelli, were more attuned to the musical script AS WELL AS the libretto's demands in their portrayals, a feat that is seldom seen these days on stage or on DVD any more.
Last but not least, Piotr Beczala's Edgardo is some what of a revelation these days, as a beautifully timbered tenor and ardent interpretor. His last scene rounds off an otherwise mediocre production with an heroic note that should under no circumstances be taken for granted.