DVD Videos

“The production of Tosca dates from 1960. Ah, those naïve times when people believed it was set in Scarpia's Rome (not in Mussolini's, for example). The date is 1800 and the Battle of Marengo is news. And the scenery is for real.
You could nose your way around Sant'Andrea della Valle, and feel quite at home in the Palazzo Farnese.
As for the prima donna, Magda Olivero (born 1910, debut 1932) has thought out every move, every expression, creating the conviction of living the whole role afresh here and now. She also sings with distinction. Try her in phrases like 'le voce delle cose' for delicacy and the great twooctave lunge of 'Io quella lama piantai nel cor' for power. Her Scarpia isn't so very far inferior to Gobbi: suave and brutal by turns, with fine resonance. Cavaradossi is likeable, both vocally and dramatically; Angelotti, for his brief operatic life, is outstanding.
The documentary of 2003 puts 1960 in perspective.
It includes glimpses of Olivero singing in Milan the previous year, marking the 25th anniversary of Callas's death. It's a weirdly ethereal sound, sometimes very flat, but flat in a beautiful way. She sings Panis angelicus, and at a late stage is joined by her tenor pupil Danilo Formaggio. In interviews Olivero tells of the tenors in her career, from Schipa to Domingo, including a long story about appeasing Gigli.
But the best things are three excerpts filmed in 1965: a delicately acted scene from Iris, authentic voice and style for Alfano's Risurrezione, and the great solo from Act 1 of La traviata. The last is astonishing in every way: the 'Ah, fors' è lui' muses privately; the 'Follies' are sudden, impetuous; the 'vortici' brilliant with nervous energy; top Cs that swell and diminish as you thought they did only in text-books; and a top E flat which you hadn't thought would be in her voice at all. And this is a youngster of 55.
It's a pity we don't get a taste of her pre-war recordings: that would have deepened the perspective.
Seeing her at 92 leaves us with admiration and wonder for this extraordinary woman and her unquenchable devotion to her art.” Gramophone Classical Music Guide, 2010

“Solti's finest reading. Splendid singers grace this lavish version, well dubbed, though the production is rather Germanic and Bacquier's Falstaff mannered.” BBC Music Magazine, March 2006 ****

“a fabulous summation of Chailly’s qualities as a Verdi conductor… A wonderful piece of stagecraft” The Guardian

“[Chailly] has the measure of internal dynamicism within the work... Rolando Villazón delivers a forthright, anguished performance as Don Carlo...In terms of an all-round Don Carlo Villazón has all that could be desired, and demonstrates fine duet singing too.” MusicWeb International

“Decker's direction of the principals provides both intelligent insights into relationships along with many bêtises that surely go against the composer's intentions. …he certainly manages to get some revelatory performances from some of the singers, particularly from Villazón who enacts Carlos's neurotic, ill-adjusted personality more successfully than any tenor in my experience. That he sings the role with so much full-throated intensity and such arresting phraseology makes his portrayal something to treasure. ...virtually every respect... of the original French version is the one to have; there you sense the full value of Verdi's original and preferable thoughts in an intelligent, finely sung and directed performance.” Gramophone Magazine, December 2005

“A strong cast was the most prominent factor in the return of Macbeth to the Gran Teatre del Liceu. Carlos Álvarez… in glorious voice and with a good sense of the psychology of the character. His dominating Lady was Guleghina… her dramatic presence is overwhelming, especially in her wonderful Sleepwalking scene” Opera

“The drama of the piece is intensified by the sharp attack and crisp ensemble secured by the conductor...Even more than Carlos Alvarez as a fine Macbeth, Maria Guleghina dominates the performance as Lady Macbeth, singing with a generous vibrato, well controlled, and staring hypnotically” Penguin Guide, 2010 edition ***