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Monteverdi;Claudio Il Ritorno


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Product Details

  • Format: Classical, Color, DVD-Video, Widescreen, NTSC
  • Language: English
  • Subtitles: English, French
  • Region: Region 1 (US and Canada This DVD will probably NOT be viewable in other countries. Read more about DVD formats.)
  • Aspect Ratio: 1.77:1
  • Number of discs: 2
  • MPAA Rating: NR
  • Studio: BBC / Opus Arte
  • Release Date: Oct. 20 2005
  • Run Time: 176 minutes
  • ASIN: B000AOGMGW
  • Amazon Bestsellers Rank: #140,960 in DVD (See Top 100 in DVD)

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Amazon.com: 2 reviews
3 of 4 people found the following review helpful
Great production, beautifully performed. June 29 2008
By D. Madis - Published on Amazon.com
Verified Purchase
I bought this after seeing the video clip on the Opus Arte website. Beautifully performed opera with original instruments, excellent singers and great sound quality. Especially notable are the counter tenor Brian Asawa and the passionate portrayal of Penelope by Graciela Araya. The minimalist set matches the action well.
2 discs, subtitles in German, English, Spanish, French, Italian and Dutch. 176 minutes running time. Extras include a synopsis read in English, about 17 minutes of rehearsal and interviews (all with subtitles) and a cast gallery.
2 of 4 people found the following review helpful
Il Ritorno D'Ulisses in Patria-Claudio Monteverdi March 8 2010
By Ali Hassan AYACHE - Published on Amazon.com
The Iliad and the Odyssey were the inspiration for many Baroque composers. Monteverdi uses the Odyssey to turn around Ulysses home to an opera. Reportedly, this return home took ten years and thus adding to the ten-year Trojan War, the hero has been out for twenty years. Long was waiting for his wife Penelope, who was on crack and still had to put up a bunch of crooks wanting to usurp the kingdom.
Musically, Il Ritorno d'Ulisse in Patria following baroque features: bass, recitatives and arias slow. Opera long, slow rhythm that makes his complicated scenario today. There are several versions on the market. I highlight two: that of Hans Werner Henze to Salzburg Festival (1985) and Pierre Audi for the Netherlands Opera (1998).
The production of the Salzburg Festival opts for a full version, traditional costumes, and loaded a static scenario. Singers quality, Thomas Allen is superb as Ulysses, and Kathleen Khulmann Penelope makes a passionate and emotional. Orchestration right direction and one that is in the trivial, the story objectively, going straight to the point.
Pierre Audi is a different reading. He wipes the story, cut scenes it deems unnecessary. I am against this procedure. The work must be performed in full, as conceived by the librettist and composer. I admit that the idea brought dynamic. His scenes are lightweight, minimalist, its light takes part in the scenic element, its moves toward the crowd. Costumes modern, bold, timeless. Print speed of a baroque opera, slow by nature. The soloists are outstanding, highlights for Brian Asawa and Penelope, Graciela Araya. Period instruments often sound strange to the ears of today, but the quest to reconstruct the original sound is very interesting - and often boring.
Two versions that print different styles to the same opera. One follows the traditional rice and beans and chips, classic. Other resources employs modern theater, fungi risotto with red wine, innovative. It shows the viewer of developments in opera, singing with a few scenic resources was the theater, where the voice is one of the elements and not the principal. You choose your path.

Portuguese

A Ilíada e a Odisséia serviram de inspiração para muitos compositores barrocos. Monteverdi utiliza a Odisséia para transformar a volta de Ulisses para casa em uma ópera. Segundo consta, esse retorno ao lar demorou dez anos e assim, somando-se aos dez anos da guerra de Tróia, o herói ficou fora por vinte anos. Longa foi a espera de sua esposa Penélope, que ficou na fissura e ainda teve que aturar um bando de malandros querendo lhe usurpar o reino.
Musicalmente, Il Ritorno D'Ulissis in Patria segue características barrocas: baixo contínuo, recitativos e árias lentas. Ópera de longa duração, de ritmo lento que torna sua encenação complicada nos dias de hoje. Existem várias versões no mercado. Destaco duas: a de Hans Werner Henze para Salzburg Festival (1985) e a de Pierre Audi para a Netherlands Opera (1998).
A produção do Salzburg Festival opta por uma versão completa, figurinos tradicionais, carregados e uma encenação estática. Cantores de qualidade, Thomas Allen está soberbo como Ulisses, e Kathleen Khulmann faz uma Penélope apaixonada e emotiva. Orquestração correta e uma direção que fica no trivial, conta a história com objetividade, indo direto ao ponto.
Pierre Audi faz uma leitura diferenciada. Enxuga a história, corta cenas que julga desnecessárias. Sou contra esse procedimento. A obra deve ser encenada na íntegra, como foi pensada pelo libretista e pelo compositor. Admito que a idéia trouxe dinâmica. Seus cenários são leves, minimalistas, sua luz participa do elemento cênico, sua direção movimenta a galera. Figurinos modernos, arrojados, atemporais. Imprime agilidade a uma ópera barroca, lenta por natureza. Os solistas são exímios, destaques para Brian Asawa e a Penélope de Graciela Araya. Instrumentos de época soam muitas vezes estranhos aos ouvidos de hoje, mas a busca de reconstituir a sonoridade original é deveras interessante - e muitas vezes chata.
Duas versões que imprimem estilos diferentes a uma mesma ópera. Uma segue o tradicional, arroz e feijão com fritas, clássica. Outra emprega recursos modernos de teatro, risoto de fungi com vinho tinto, inovadora. Mostra ao espectador a evolução na ópera, de canto com poucos recursos cênicos à era do teatro, onde a voz é um dos elementos e não o principal. Você escolhe seu caminho.


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