DVD Videos

“This attractive and lively production of Puccini's Wild West opera makes the best imaginable case for it, especially the exuberant Barbara Daniels in the title role; while Domingo is at his peak, in 1992, as the nice bandit Dick Johnson.” BBC Music Magazine, October 2005

“one of [Domingo's] most convincing roles” Opera

“Slatkin conducts a bitingly dramatic account...In 1992 Sherrill Milnes was still an outstanding Rance, at once handsome and sinister, while Placido Domingo is just as warmly expressive...the pretty and buxom Barbara Daniels with her bright, big soprano gives a characterful performance...Bright, clear recording, bringing out the emotional tug behind Slatkin's reading” Penguin Guide, 2010 edition ****

“One of Böhm's last operatic assignments, he accompanies his fine cast with huge wisdom. Gruberova and Talvela are outstanding. August Everding's production, adventurous for 1980, is now a delight to look at.” BBC Music Magazine, October 2005

“the performance has a winning glow, with an excellent cast of soloists. Edita Gruberova as Konstanze is at her freshest...[Grist's Blonde] is a charming and characterful assumption, most of all when confronting the powerful Osmin of Martii Tavela” Penguin Guide, 2011 edition

L’amour de loin was named “Best New Work of the Year” by The New York Times in 2000

“Since its premiere in 2000, Saariaho's first opera has been widely performed, and won universal plaudits. It's a simple tale, based on the real-life troubadour prince Jaufré Rudel, who falls in love with the Countess of Tripoli without ever having met. Visually, it is stunningly austere, with two tall spiral staircases, one at each side of the stage, and the black space in between covered with water representing the sea. Finley as Jaufré has melodies which grow out of songs by the actual 12th-century troubadour-they're fascinatingly tinted by Arabic... Saariaho wrote the part of the Countess for Upshaw - she has more widely-ranging melodies, sung with complete confidence and conviction... And Groop as the Pilgrim is as fine a singing actor as the other two: much is shot in close-up, and you can feel the total involvement of all three protagonists. ...this is an incredibly beautiful and moving experience.” BBC Music Magazine, October 2005

“…mezzo-soprano Brigitte Balleys as Nero is credibly masculine without being theatrically butch, Ning Liang is darkly dignified as Ottavia, countertenor Michael Change (Ottone) and bass Harry van der Kamp (Seneca) are rock steady in their roles. Soprano Cynthia Haymon as Poppea has presence... The stage setting and direction by Pierre Audi is rather gloomy and minimalist, and so focused on internal feelings that there is almost no theatrical transition between scenes... Even so, this is now the first choice on DVD for this opera...” BBC Music Magazine, September 2005 *****

“Memorable Monteverdi - Brigitte Balleys’s Nerone was so flawlessly sung that one never missed the more usual tenor casting of the role” Opera

“Amsterdam has a model opera company: fresh, controversial and accessible… this Poppea is a quality product of self-evidently world class distinction” Sunday Times

“a stylish reading on period instruments, with an excellent line-up of principals. As Agilea, Sharon Rostorf-Zamir with her rich mezzo establishes the quality in the first three arias, and the three countertenors in the cast...are all first rate...Kohler's production involves broadly traditional costumes and the simplest of sets.” Penguin Guide, 2010 ***

“…this is the famous David Hockney Rake's Progress… with his designs based on the William Hogarth engravings which inspired Stravinsky in the first place. Cross-hatching and shading are transferred with incredible skill and wit to the sets and costumes, making a perfect visual complement to Stravinsky's neo-classical score. Bass-baritone Samuel Ramey is a strong Nick Shadow, both vocally and dramatically... Lott is as thrilling hitting the high C at the end of the first Act cabaletta as she is tender in 'Gently Little Boat, in the asylum scene. The real disappointment is Leo Goeke as Tom Rakewell - his voice isn't focused enough in pitch to give the clarity that Stravinsky's vocal writing demands, though dramatically he's on the ball.” BBC Music Magazine, October 2005

“Hockney both paid tribute to and affectionately parodied William Hogarth's seminal picture sequence and Cox got the painter's work onstage without the result feeling like an art exhibition. …searchingly sung portrayals from a young-looking Samuel Ramey (Shadow), Felicity Lott (Anne) and Leo Goeke (Tom). The Bedlam scene, in Hockney's tiered box set, is heartbreaking.” Gramophone Magazine, December 2005

“The different scenes are beautifully devised by William Dudley...Ryland Davies is a clear-toned Belmonte, with Valerie Masterson sweet, true and agile, singing at her peak...Lillian Watson is charming as Blonde, pertly defying the will of the magnificent Osmin of Willard White...[the staging] is a model of traditional perfection.” Penguin Guide, 2010 ****

“One of Glyndebourne's most elegant 1980s productions finally reaches DVD, with a superb ensemble cast and Gustav Kuhn's crisply stylish conducting, modern instruments but full score. Valerie Masterson's Constanze is visually and vocally delectable… Ryland Davies is a plangently passionate Belmonte, well contrasted with James Hoback's vulnerable college-kid Pedrillo. As a bass-baritone the young Willard White may underpower Osmin's terrifying lower Cs and Ds, but the voice is so rich and the characterisation to formidable he carries the day - although meeting his match in Lillian Watson's sexy Blonde, crystal-voiced, unexaggerated and wonderfully funny. It could hardly look more ravishing, though, in Bill Dudley's airy settings, radiant with Turkish atmosphere and colour...” BBC Music Magazine, October 2005