Although it was said that Puccini considered this his finest operatic achievement, I did not find it so in spite of the excellent performances by Deborah Voigt and Marcello Giordani, and the animated conducting by Maestro Levine. In other Puccini opera there are a handful of arias, duets or trios which one can virtually hum along with, silently, of course. In Fanciulla, only the recurrent background theme was recognizable throughout. I agree with the comments made about the darkness of the lightning in this production but did not find it overly distracting.
Absolutely excellent was this first installment of Robert Lepage's new production of the Ring quartet. The set was quite different and interesting but possibly presented a challenge for the cast. The music under conductor Levine was superb; should we expect less after forty years at the helm of this renown orchestra? Bryn Terfel excelled in the role of Wotan while Richard Croft portrayed a clever Loge. I am looking forward to the subsequent operas.
This is a very good film but not a great film nor up to the standard of "The Notebook". Something seemed to be missing; whether it was in the novel by Nicholas Sparks, the screenplay by Jamie Linden or the direction by Lasse Hallstrom, I don't know. It left me with a feeling that there should have been more to the story. Channing Tatum's portrayal of sergeant John Tyree was somewhat wooden and unimaginative. Amanda Seyfried's Savannah Curtis was believable but there didn't seem to be any chemistry between her and Tatum. The best performance was by Richard Jennings in the role of Tatum's father.
Paul Bettany does give a credible performance as the archangel Michael but the story and the rest of the cast just wing it. If you don't have anything better to do with an hour and a half, it won't be a total was of your time or money.
Saoirse Ronan is absolutely mezmerizing as Susan Salmon, the 14 year old girl around whom the film revolves. Equal credit goes to Stanley Tucci, the antagonist of the film, whose mere look sends shivers down one's spine. Production designer Naomi Shohan and cinematographer Andrew Lesnie deserve mentioning also for their fine work. Peter Jackson's work will probably be under appreciated and under viewed but that loss is to the viewer.
Frequent audio and occasional video dropout, which we were informed originated with the broadcaster, ruined this satellite broadcast of Puccini's Turandot. Were it not for the technically sub-par broadcast this Franco Zeffirelli production would have rated five stars for set design and costuming. Vocally the performances of the four principals were only slightly above average with the exception of Samuel Ramey who never ceases to please.
Saturday’s sold out performance of Giuseppe Verdi’s glorious exhibition of unremitting love in ancient Egypt, Aida, set a new benchmark for this opera. All three principals, Violeta Urmana (Aida), Dolora Zajick (Amneris), who has sung this role for 20-plus years, and Johan Botha (Radames) gave no holds barred performances under the baton of conductor Daniele Gatti. The set design by Gianni Quaranta was in keeping with the traditional set first presented in 1988. Quite impressive was the grand march involving dozens of supers and four horses among the massive temples and statuary of ancient Egypt. Breaking the march in two, the ballet sequence choreographed by former Bolshoi dance director, Alexei Ratmansky, was breathtaking.
The opera was excellent in its minimalist staging and the use of puppets was curious at first but acceptable. What marred this presentation was the ten-minute lose of video at the beginning of scene 2, act 2. This is the 2nd time this has happen at this venue (Chesterfield AMC); Lucia di Lammermoor was lost completely. This should never happen again.