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Lelisir Damore [Blu-ray] [Import]

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Product Details

  • Format: Classical, NTSC, Import
  • Language: Italian
  • Subtitles: English, French, German, Spanish, Italian
  • Region: All Regions
  • Aspect Ratio: 1.78:1
  • Number of discs: 1
  • MPAA Rating: UNRATED
  • Studio: BBC / Opus Arte
  • Release Date: May 25 2010
  • Average Customer Review: Be the first to review this item
  • ASIN: B003BFUS80
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Product Description


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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: HASH(0x9c624f00) out of 5 stars 11 reviews
10 of 11 people found the following review helpful
HASH(0x9d259b04) out of 5 stars a Night to Remember! April 19 2010
By Mr John Haueisen - Published on Amazon.com
Format: DVD Verified Purchase
This is a recording of a live performance at the Grand Teatre del Liceu in Barcelona, just a month after the Vienna State Opera performance that teamed Rolando Villazon and Anna Netrebko. While I still believe the Villazon/Netrebko pairing is the to-this-point definitive performance of L'Elisir d'Amore, this Barcelona performance has much to recommend it.

First, all of the principals and the chorus sing and act very well. Jean-Luc Chaignaud brings across the personality of a braggadocious, strutting sergeant, Belcore. His attitude is "Hey girls, here I am; don't miss the opportunity to be with me!" When Adina dumps him, he doesn't miss a beat as he moves on to other pretty ladies, starting with the very lovely Giannetta (Cristina Obregon).

Bruno Pratico is the lovable, rascal, Doctor Dulcmara, who can sell anything to anybody. He arrives on a motorcycle with a sidecar, consistent with the setting of a small Italian town of the 1920s or 1930s. Even as he deceives everyone, you'll find yourself enjoying him much as so many children have long delighted in the boastful "Mr. Toad" of WIND IN THE WILLOWS.

If you haven't heard Rolando Villazon, you've missed one of the greatest tenors since Caruso. To singing that rivals Pavarotti for technique, control, and quality, and Domingo for depth and passion, Rolando Villazon adds the dimension of superb stage acting. He's involved in the action at all times, and adds movements, shrugs, glances and gestures that make this a night to remember.

I'm certainly not alone in this, for the audience applause following "Una Furtiva Lagrima" simply would not subside until an encore was begun. The entire cast seemed aware that it was a performance to be remembered. Their interaction and involvement gave life even to the background roles, and let them shine.

If you can imagine a cast of superb singers with the best acting and great costumes and ideal staging--all performing with the joy and enthusiasm of kids in their first big musical--all of this on the stage of the second largest opera theater in Europe--I think you'll agree it was a night to remember.

Enjoy it with dear friends!
6 of 7 people found the following review helpful
HASH(0x9d259d50) out of 5 stars Nice two hours again with Nemorino and Adina April 13 2011
By Satish Kamath - Published on Amazon.com
Format: Blu-ray Verified Purchase
There are a lot of things going for this production and many that can be criticized.

The biggest minus point here seems to be the recorded music.

1. It is too soft when the soloists sing and blasts when the choruses come into their own. One has to sit with the remote in hand, toning down the volume when the chorus sings and upping it when the soloists do their thing.

2. Mauritzio Benini seems to have taken the music and himself for granted. NOPE. It does not work for me. Ever so many nuances and stuff have not been attended to, and the whole conducting lacks any bite. It sounds akin to a routine performance of a work like Schubert's 8th or Beethoven's 5th on a Sunday afternoon with players indented from the whole countryside. Sorry. Luckily the music is so famous and so well known that the Donizetti lover's brain adjusts itself to what it should actually hear, from what there actually is.

Having said that, Let me come to what goes so beautifully for this production

1. Great Video. Blacks are not grainy and the lack of lighting overall does not for one moment make it into a grainy production like ever so many other blu rays.

2. Excellent Casting. All the soloists as well as the ensemble has been chosen excellently.

3. Staging and direction: Top class with the exception of the fact that Nemorino is just too harshly treated and so badly regarded at the beginning that it takes a bit of convincing oneself that Adina can actually fall in love (or is in love) with him. A little too physical as far as his torments go.
The role given to James Bellorini as Dulcamara's assistant is just out of this world. He fills in the gaps many a times when the rendition gets a little routine. A masterstroke incorporating such a role for the assistant.

4. Singing is Superb.
Peter Auty has one of the most expressive renditions... one of the most lyric interpretations of Nemorino that I have ever heard. An unusually soft tenor voice that he deploys for this role, which although may not be as expressive as Villazon (in the production with Maria Bayo), still does give Nemorino a very soft and soothing yet sensitive quality to the role. Thankfully he is not as piercing and powerful as say, Alagna who totally spoils the character of Nemorino thus.
Ekatrina Siurina, whose voice is not too big, but beautifully refined, complements that of Peter Auty and they do make a very effective pair in this rendition.
Luciano Pasquale is almost as good a Dr.Dulcamara as they come. Nothing fantastic, but quite adequate.
The rest of the cast do their bit competently, although they have been treated unfairly by the audio engineers whose editing as I mentioned before, leave a little to be desired.

All in all, I would really recommend this production. Given my reservations to begin with, I award it only 4 stars.
Writing a review or commenting about rendition of an opera like L'Elisir is an impossible task. The work is so popular, and to most long time lovers of Opera, is like asking to choose between a particular performance of a popular Symphony of Mozart among a bevy of many conductors and orchestras, each of which have their merits and otherwise that differ from rendition to rendition.
3 of 3 people found the following review helpful
HASH(0x9d259d14) out of 5 stars Fantastic performances! Aug. 29 2010
By P. Sutherland - Published on Amazon.com
Format: DVD
Rolando Villazon outdid himself in this production! He was endearing and funny, but not over the top, singing in top form, actually modulating his voice as opposed to his sometimes loud and louder. The audience loved him and he had to encore his Una Furtiva Lagrima. Maria Bayo as Adina sang wonderfully, too, although she seemed to be straining to hit her marks. This is a comment on her facial expressions--eyes squinting so much--not on her results. Jean-Luc Chaignaud was a very handsome and welcome surprise as Belcore. Christina Obregon, Giannetta, was also excellent. Bruno Pratico is not one of my favorites but he did a splendid job as Dulcamara.

This production was updated to around 1930-40s set in an Italian village square. The large chorus sang well and enhanced the show. The music was perfect. I'd rate this Villazon production higher than the one with Anna Netrebko. But Valeria Esposito is still my favorite Adina.
2 of 2 people found the following review helpful
HASH(0x9c795228) out of 5 stars Bravo! Bravo! or how an entire cast should carry a show and not just the principal tenor! July 22 2014
By Mightymouse - Published on Amazon.com
Format: DVD Verified Purchase
Vocal performances by Rolando Villazon and Maria Bayo was stunning as always with equal compliments to Bruno Practico (as Dulcamara) and Jean-Luc Chaignaud as the Sargent Balcore. All four principals carried the opera equally both musically and dramatically which I consider refreshing for a change. Its too often that the principal tenor or soprano gets the main billing and reviews while the supporting ensemble are ignored. More often than not, deservedly so as they often do not give noteworthy performances.It was breathtaking to see how well thought out and executed this production was done in order to portray this story as not only romantic comedy in opera form but that the REAL stars of the show was not Nemorio and Adina but that it was always about the Doctor and his patent medicine! (after all, isn't that what Donizetti named the opera: "L'Elisir d' Amore??" The Elixir of Love?) It also showscases how versatile Rolando Villazon is in performing the same opera within months of each other under two very different directorial visions. Villazon performed this same opera April 2005 under the direction of Otto Schenk with the Vienna State Opera using a more traditional Napoleonic-era rustic Italian village scenery, costuming and staging. The character interpretation of Nemorino in that bucolic backdrop was very appropriately " simpleton" and Villazon was brilliant in his comic portrayal of the naive village boy who believes that magic potions do exist and that to find it will win the heart of his beloved Adina. Anna Netrebko was perfect as the stunningly beautiful Adina; giving her character just as much of the playful innocence of a village girl as Villazon gave Nemorino's exuberance. In Schenk's interpretation it was all about the main character Nemorino. That was evident throughout the performance in that the supporting cast were portrayed as caricatures (as interpreted in exaggerated costuming and makeup,) apart from the two "normal" lovers. This gave Villazon license to "Ham it up" as brilliantly as he did and in the same Charlie Chaplin/ Tim Conway tradition that had me rolling in the aisles with laughter!

On a more serious note: Mario Gas' brilliance was again in keeping the interpretation more in line that the story was NOT about Nemorio and Adina at all but that the REAL main characters were the Doctor and his patent medicine! It was always about the Medicine! Gas had a more serious dramatic viewpoint and Villazon was able to switch gears and respect that by delivering both an outstanding acting as well as singing performance. Mario Gas' interpretation was probably more in line with Donizetti's intended mood for the opera as a light (with and emphasis on "light") comedy. This meant that the character of Nemorino had to be just a normal young man asking that age old question as many young boys do: "How do I get the girls to like me?" He asks in the opening scene "how can I be loved?" The ladies of his village look at him as "the kid", more like a pesky kid brother than a suitable boyfriend or lover. He interprets that as there must be something wrong with me. When Nemorino looks to the Doctor for a potion he isn't really looking for "magic" as much as he is looking for medicine to change him, cure him, of what ever it is wrong with him that makes the girls ignore him, most of all Adina. After all, when you are looking for magic, you are looking to give your intended the potion to change them; when you are looking for a cure you are asking to change yourself. Secondly Gas gives Nemorino the backdrop of a village around 1920's in which Nemorino operates a newsstand and interacts more normally as one of the young kids around town. This gives the likeliness of a romance between Nemorino and Adina plausibility. The star was truly the Doctor (Bruno Practico) and his medicine. Gas brilliantly drives this home with the encore of "Ei correggi ogni difetto" during curtain call when Dulcamara (Practico) comes out walking down the aisle from the back of the audience singing this song and passing out sample bottles of his magic elixir to members of the audience and finally to the Conductor at the orchestra pit! The simple staging and scenery in the 1920's meant that there was no excessive props or fussy costumes in the chorus's to distract from who the characters were supposed to be, the village eligible ladies and widows. Every person in the chorus seemed to belong and was very much an active character that made up each scene when the chorus performed, giving weight to the set. The casting of Adina, Balcore, and Dulcamara were all age appropriate and costumed so they looked their part. In Schenk's version the casting of Leo Nucci as Balcore seemed wrong in that he looked way too old to be a rival suitor for Adina. Again, Schenk's supporting cast were caricatures to the intent that Nemorino and Adina be to the forefront of the performance. In Gas' version, Villazon generously shared the stage equally with all of the characters and the chorus through out the performance which is a sign of respect of a true professional. The audience showed their love for him by demanding an encore of "Una Furtiva Lagrima" in the 2nd Act and then showered him with a confetti of playbills from the balconies and boxes above the stage during the curtain call. The applause was prolonged and deafening! Well done Maestro(s)!
7 of 9 people found the following review helpful
HASH(0x9c7950c0) out of 5 stars Villazon! April 15 2010
By Zachary Rogg-Meltzer - Published on Amazon.com
Format: DVD
A fabulous stage actor and a fabulous singer, Rolando Villazon steals the show as Nemorino and makes these Donizetti pieces even more memorable than they already were. With 35 tracks crammed onto one CD you are certainly getting your money's worth here. Villazon's performance is very emotive and seems to give more meaning to the words behind the music. Any fan of Donizetti or of Villazon should try and acquire a copy of this CD. Trust me; once you do you will not stop listening to it.