debaroos

I thought this was a very interesting production/interpretation of Rusalka, though I wished they had added English subtitles on the DVD (yes, I know they are singing in English, but it's still difficult to decipher the words nevertheless). Something that really made me laugh -and I kept pressing the backward button - was when one of the "Wood Nymphs" tripped and fell on the stage, making a very loud "THUMP!" I almost missed it at first and thought it was part of the production, but watching it again I realized she tripped on her costume (long white nightgown). It's terrible of me, but I could not stop laughing! You should rent this (I rented it from Netflix) just to see this innocuous blooper. I hope her knee was okay...Gotta admire the way she just carried on with the performance though....If it was me I would have run offstage sobbing.

This is one of my favorites of all Britten's works! Perhaps others think melody is scarce in this chamber opera, but I must disagree. There are so many beautiful passages and arias: The Prologue, "Why did I come?", Governess' aria from scene 4 (Act 1), "Dear God is there no end", "Malo, malo", the duet of Quint and Jessel, and Quint's stunning coloratura flourish "Miles".

There is one casting hiccup: Flora is played by a very adult Machiko Obata--she looks like Miles' mother (but she has a wonderful voice, so I got over it). There are slightly funny shots of Mr. Bedford's prissy podium style--in between all scenes and acts--with his pinky fingers in the air. Those are just minute grievances in an overall sterling performance.

The performers are in perfect voice: Helen Field, Richard Greager, Menai Davies, Phyllis Cannan, and Sam Linay (he succeeds in evoking both innocence and sinisterness).

It is a very worthy presentation of Britten's masterwork and it shouldn't be missed!

I love Sweeney Todd, but I did not love this concert version. I did not care for Patti LuPone and I really abhorred the way it was taped. During the Judge's Song (Johanna), the camera kept panning back and forth from Johanna to the Judge. Towards the middle of the song, there were brief and idiotic shots of Johanna's chest, hands, and face that were timed with crescendi in the music. Cornball! It took away a lot from Timothy Nolen's wonderful performance because the viewer becomes too aware of the camera. The director is saying: "Look at how the camera moves! Aren't I ever so clever?" Aside from that, I did enjoy the extras on the DVD: a short documentary on the genesis and making of the concert versions of Sweeney Todd, plus interviews with Sondheim, George Hearn, Timothy Nolen, Victoria Clarke, Lisa Vroman, Neil Patrick Harris, Patti LuPone (blech) and unfortunately, the execrable Lonny Price (good stage direction; bad TV direction). If you love Sweeney Todd, you'll want to see this no matter how badly the camera is directed.