DVD Videos

'The catastrophic storms of the Last Judgement that assault the listeners’ ears with massive weight and power in the Dies Irae sections are portrayed not just in a raw, bombastic way, but with shrewd phrasing by Claudio Abbado – ever attentive to the musical colours and preserving the tonal eloquence and the massive sounds’ Suddeutsche Zeitung

“For all the reek of marketing hype, there's a real sense of occasion, our greatest living tenor benignly crowning superstar successors who promise comparable art and intelligence.” BBC Music Magazine, March 2007 *****

“This 2006 live production goes straight ot the top of the list because Leo Nucci's unforgettably powerful portrayal of Macbeth is a tower of strength....[Valayre's] voice has a certain amount of intrusive vibrato but her singing is strong and clear, and her acting vivid yet not overly melodramatic.” Penguin Guide, 2010 edition ***

“Nicolas Joël's… cleverly circumvents the traditional imagery by setting the action at roughly the time of composition (1870-1), in the… context of the scramble for Africa. The exoticism of Aïda is preserved, yet the characters (costumed by Franca Squarciapino) are brought closer to 'home'. It helps that Zurich's excellent cast play their roles with such dramatic and musical conviction, a rare combination in Aïda. Making her debut in the title role, Nina Stemme... gives a beautiful and touching performance.” BBC Music Magazine, August 2007 *****

“This 2006 production from the Zurich Opera is a traditional one by Nicolas Joël in veteran Ezio Frigerio's wonderfully evocative, highly coloured sets. Then Adám Fischer in the pit leads a remarkably strong yet subtle account of the score, which – when played and sung like this – is once more revealed as one of Verdi's greatest masterpieces.
Four of the principals easily surpass their DVD rivals. Stemme offers a deeply considered, expressive and superbly sung Aida, one for whom the work's vocal perils do not seem to exist. Add to that acting that goes to the heart of the matter, and one is left breathless in admiration after so many sopranos not truly fitted to the part. Licitra has done nothing better than his Radames here. At last fulfilling his potential, he sings the role with an open-hearted sincerity and a heroic voice up to the part's exigent demands.
He and Stemme make their Act 3 duet the highlight it should be.
D'Intino, an experienced Amneris, sings her role with intense feeling allied to a mezzo of generous proportions. The demands of her Act 4 scena are fully met, and she storms off to a well earned burst of applause. Stemme and Licitra give the final scene with the utmost sensibility. Salminen remains a force to be reckoned with, but Pons – as Amonasro – no longer is the baritone he once was, although dramatically he is up to the part.
The showpiece close to Act 2 is the one comparative disappointment, not offering the frisson it ought to. And here Andy Sommer's video direction is uncertain, too often dividing the screen into three for no discernible purpose, but he directs the principals with a deal of senstivity.
So this is the DVD Aida we have long awaited.” Gramophone Classical Music Guide, 2010

“At last an Aida on DVD that can hold its head high and surpass its lesser rivals. Last year's production from the Zürich Opera is a traditional one by Nicolas Joël in veteran Ezio Frigerio's wonderfully evocative, highly coloured sets. Stemme offers a deeply considered, expressive and superbly sung Aida, one for whom the work's vocal perils do not seem to exist. Add to that acting that goes to the heart of the matter, and one is left breathless in admiration... Licitra has done nothing better than his Radames here. He and Stemme make their Act 3 duet the highlight it should be.” Gramophone Magazine, September 2007

“Severely cut and rearranged, Zeffirelli's famous film suffocates under its own opulence; but Parisian and Provencal locations, Levine's rich conducting, Domingo and Stratas remain rewarding.” BBC Music Magazine, May 2008 ****

“From the start Stratas's face reflects all the shades by which hope and fear, the public image and the inner self may be expressed. Both meet the notoriously disparate vocal demands of the role, though Stratas's voice sounds worn on the high notes. In the last act Stratas's relative slightness of vocal and physical build works to her advantage. Both are fine in the developing emotions of the great duet with Germont père...Levine's flair is most evident in vigorous rhythmic passages such as the dances and the card game” Gramophone Classical Music Guide, 2010

“… the start Strata's face reflects all the shades by which hope and fear, the public image and the inner self may be expressed.” Gramophone Magazine, April 2008

“Dazzling…a triumph…not to be missed.” New York Times

“It is Zeffirelli who dominates the filmed Met. production...But that does not detract from the passion or the tragedy...[Stratas] totally identifies with Violetta and movingly carries us with her...Domingo is Domingo, and he sings with the fullest, boldest ardour.” Penguin Guide, 2010 edition ***

“…a valuable record and a highly enjoyable one, in Elijah Moshinsky's clean-cut production… Pavarotti, in golden voice and intense presence, is well matched by Louis Quilico's rich-voiced, mordant Renato and Katia Ricciarelli's deeply felt if occasionally strained Amelia, not to mention Judith Blegen's sparkling Oscar.” BBC Music Magazine, June 2008 *****

“Pavarotti [is] at his very finest, both as singer and actor...Patane conducts throughout with flair and Brian Large's video direction could hardly be bettered.” Penguin Guide, 2010 edition ****