- Actores: La Fura dels Baus
- Directores: La Fura dels Baus
- Formato: Cofre, Clásica, Dolby, DVD Audio, DVD, Subtitulado, Pantalla ancha, Importación
- Audio: Alemán (Dolby Digital 5.1), Alemán (PCM Stereo)
- Subtítulos: Alemán, Francés, Inglés, Español
- Región: Todas las regiones
- Relación de aspecto: 1.78:1
- Número de discos: 1
- Calificación FSK: No recomendada para menores de 6 años. No se nos ha facilitado la calificación española por edades (ICAA), pero puedes consultarla en la página oficial del ICAA. Las calificaciones por edad y/o versiones de otros países no siempre coinciden con la española. Más información sobre las diferentes calificaciones por edad.
- Estudio: C major (Naxos Deutschland GmbH)
- Duración: 307 minutos
- Valoración media de los clientes: 5.0 de un máximo de 5 estrellas Ver todas las opiniones (1 opinión de cliente)
- ASIN: B002ZCUEKM
- Clasificación en los más vendidos de Amazon: nº63.954 en Cine y Series TV (Ver el Top 100 en Cine y Series TV)
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WAGNER: Götterdämmerung (staged by La Fura dels Baus) - Zubin Mehta [Reino Unido] [DVD]
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...Bilder, die nicht nur durch ihre pure Perfektion faszinieren, sondern die ihre eigene visionäre Kraft und narrative Dynamik entfalten. Für das Sängerensemble hat Hausherrin Helga Schmidt auch beim abschließenden Ring-Teil ein gutes Händchen bewiesen. In der Götterdämmerung ist allein der dämonische Hagen von Matti Salminen eine Sensation und auch Franz-Josef Kapellmann als Alberich hinreichend düster. Die stattliche Jennifer Wilson ist eine prachtvolle Brünnhilde. Auch für ihren kurzen Besuch bei der Verbannten liefert die Waltraude von Chatherine Wyn-Rogers Walkürenformat. Lance Ryan ist ein zuverlässig heldischer Siegfried mit guter Kondition. Ralf Lukas und Elisabete Matos überzeugen als wendiger Gunther und als liebesbedürftige Gutrune, ebenso wie die Nornen, die Rheintöchter und auch der grandiose Chor! Für den inneren Zusammenhalt des Ganzen, aber auch der Götterdämmerung im Einzelnen, liefern Zubin Mehta und das Orquestra de la Comunitat Valenciana ein fabelhaftes und sicheres Fundament. Mehta hat hier ein Wagnerorchester von beachtlichem Format geformt, schwelgt geradezu in der Spiellust und Detailfreude der Musiker und lässt sich natürlich weder den Rückenschauer beim Trauermarsch, noch den bei Brünnhildes Schlussgesang entgehen. (omm.de)
''…the voice of Matti Salminen (Hagen) is thrillingly boomy, Jennifer Wilson (Brunnhilde) has a gleaming powerhouse sound, and the sci-fi-cum-eco-warrior production has some grand moments'' --Classic FM Magazine
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Besides the nifty staging, this production also benefits from a couple of first class singers in THE roles -- Lance Ryan as Sigfried and Jennifer Wilson as Brunnhilde. These were very satisfying performances. I had heard good things about Wilson, so her solid performance was not so surprising (good top notes and presence in Act 2; somewhat prosaic immolation scene, however). For me the surprise was Lance Ryan -- he had great stamina, no tiring in Act 3 and a strong death scene (also a very good Siegfried in that opera). I would put them right up there with the best of any others on DVD. The rest of the cast was not as strong, but all were satisfactory. As a small aside, it seems that Salminen has been playing Hagen (and doing it well) since Wagner's death. Time is catching up, and it strains credibility in this performance when Hagen (who is supposed to be around Siegfried's age) resembles Merlin.
Orchestra and conducting are good throughout the cycle.
Two disappointments -- one minor and one major. Minor: given all of the special effects, Act 3 (arguably the greatest act of the entire cycle -- maybe of opera) seemed a bit anticlimatic. But maybe that's because the bar was raised too high in the earlier operas. Major: the costume and makeup designers should be chained to Mime's anvil for eternity. Most DVD ring cycles (and I've seen just about all of them) have piss poor costuming, but this one just about takes the cake. As one example, they managed to make Jennifer Wilson resemble an Anna Russell caricature (huge breastplate emphasizing huge breasts)and the worst prom/bridesmaid dress imaginable, complete with bustle. For crying out loud, a simple tunic would have been more flattering, tasteful, and consistent with the production.
All in all, I recommend this cycle highly. It's becoming increasingly difficult to rank order the growing number of Ring cycles available on DVD. To make matters worse for me, the cycle I had placed as number 1 (Barenboim/Kupfer) now seems too bleak, a bit long in the tooth, and at times downright boring (despite some excellent performances) when compared to some of the recent releases such as this one and the productions from Copenhagen and Amsterdam.... what's a person to do?... gorge on them all.
First, this performance sounds magnificent! With Solt and Nilsson in memory, this one comes close, with a Brunnhilde of comparable power, a chorus to knock your socks off, filmed in HD-widescreen with 5.1 audio. The concept of society run aground in its polluting, soul-devouring search for more power and money are artfully presented, as if in a Cirque du Soleil performance. Yes, the costumes seem to be from some Halloween frat party, but the stage craft, video projections, acrobatics and directing seem to make sense, if not all the time. As with any art form, the observer may be thinking, "If only I had done that, I'd have done it this way, or left that out, etc." But with so many great moments here, those minor oddities can be forgiven.
Jennifer Wilson (Brunnhilde) is a vocal force on par with Nilsson. Listen to Disc 2, que #8 or the vengeance scene at #11 to hear what I thought we'd never hear again. Matti Salminen is now the definitive Hagen, in the Gottlob Frick mold.
Lance Ryan (Siegfried) certainly looks the part, and sounds good,if a bit underpowered. The diction by everyone is impeccable and clear. If you know German, you won't need the subtitles. The rest of the cast, including the Norns, Gunther and Waltraute are very capable in spite of their bizarre costumes and masks. I imagine the first thing the Rheinmaidens were asked by the Front Office was, "Can you swim?" The choral sound is huge and virile.
This brings us to the orchestra and Zubin Mehta, conductor. They sound magnificent, as if borrowed from Bayreuth. It's a rare, but deserved treat when they all appear on stage, with instruments to take a bow at the end. The Valencia (Spain) forces are a major ensemble, and well captured here. This 2008 performance was very beautifully filmed by Unitel and Teldex. Highly recommended!
My main gripe is with the excessive use of projections in the last two operas. In the distant shots the characters on stage can be lost. Even singers with a more dramatic presence would be absorbed in the stage picture. At times the effects work and the end result is dramatically effective. At other times it can be impossible to sort out the stage picture making viewing a muddled mess.
For reasons that are explained in the "bonus" the setting of Gotterdammerung is moved to what I suppose can be called contemporary. This does not add one whit to the the overall dramatic effect and indeed it is not used consistently. In act III, Siegfried is wearing a generic costume that looks anything but contemporary, but his dreadlocks are still missing. I should add that Ryan's best singing is at this point: the voice is steady and the emmission of tone even. I understand that he will be singing at Bayreuth this summer. Wilson certainly has the potential for being one of the best Brunnhilde's going. Her acting at this point is made up of stock gestures that one would have though were discarded decades earlier. She is also contumed atrociously. She wears a breast plate (why?) and a long full skirt with what appears to be a bustle--all of this makes her look far heavier than she is. I doubt that she will receive a call from From Bayreuth--and the loss will be theirs. Salimen continues to amaze with a superbly sung Hagen. Gutrune and Gunther must be two of the most ungrateful roles that Wagner ever wrote. Matos as Gutrune is costumed to look like a trollop; her voice is shrill. Gunther is made up to look like a refugee from a George Romer horror flick. Vocally only adequate.
I assume some PR flack coined the term "A Ring for the Twentieth Century". Statements like this can only come back to bite you. Yes, they are using tenchiques that most theatres can only wish they had. But in the end a great cycle is the result of interesting and creative staging (Chereau/Kupfur)great singing (go back to the fifties) and we do not live in a great era for Wagner and Verdi singing. We have some excellent singers and some intelligent singers, but with Rings being staged all over the place there aren't enough to go around. I wanted to throw my non-existent hat ini the air and yell "Ole" when the findal chords were over. God knows the Valencia audience did. In the meantime the Ring I will return to most often is the Kupfur/Barenboim set with the Chereau/Boulez waiting in the wings.
Apart from a few lovely voices, this production has nothing to recommend it; absolutely rock-bottom more-is-more Eurotrash, only a fraction above Katerina's Meistersinger in sheer wrong-headed ineptness.
Let's start with the stage production: The back projections were a distraction, as were the giants' exoskeletons, the rheinmaidens' aquaria, the hideous costumes (from the house of Harrison Bergeron, I imagine), and who could forget Loge on a Segway. The flying acrobats from 'La Fura dels Baus' lent nothing to the opera. On the contrary, after a few minutes of watching an already cluttered stage fill with squirming bodies in leotards, I began hoping that one of the singers would accidentally kick one of them. The 'making of' film showed them outside the opera house. Perhaps they should have stayed there.
The television production was sub-par. I suppose Brian Large has spoiled us, but the jump-cuts during some of the solos were intensely irritating. Tiziano Mancini, please try harder next time. Just a Wagnerite's opinion, but showing the orchestra during the scene changes isn't quite what der Meister intended, methinks.
The orchestra was excellent, but Mehta's conducting was totally lacking in fire. Doesn't he like Wagner?
Performances? Well, some were very good, most mediocre, and some awful.
Ryan's Siegfried was awful; shouting does not make a heldentenor. There was no evidence to suggest that this was caused by fatigue - he did it right from the start.
Uusitalo's Wotan lacked presence, though his Wanderer struck a cord. We saw his excellent portrayal of Hollander at the Met. Perhaps his persona matches Weltschmertz.
Gerhard Siegel's Mime is curiously sympathetic, in a clear carry-over from his Bayreuth performance.
Jennifer Wilson's voice is better than average for Brunnhilde (these days), but Mehta's direction stifled any attempt at greatness.
Ralf Lukas' Gunter was excellent, bringing unusual depth to the role. He should go far, and hopefully next time he won't be covered with white paint and Japanese characters.
Which leaves Matti Salminen - the only reason why I gave this train-wreck two stars. There he stands, completely unrecognizable in face paint (including the Yen symbol on his forehead), belting out Hagen, and leaving the rest behind. Bravo! A splendid performance!
The obligatory 'making of' track, which shows the beauty of the Valencia opera house, and the cynicism/ineptitude of the folks who inhabit it.
If you want to see good Eurotrash, try the Copenhagen Ring - not this.