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DVD : Donizetti - Roberto Devereux
1 2 3 4
Rating: 
- Roberto Excellence
I now have two Roberto Devereux's on DVD, one with Beverley Sills & this one with Alexandrina Pendatchanska. I raved about the Sills recording; but having seen this one, I am gob-smacked. I thought Sills could act! You haven't seen anything till you see Pendatchanska's Elizabetta. It is so life-like, it's scary. To be perfectly honest, I had never heard of this woman until now. I did not know what I was getting, as I did not know any of the cast, so I was apprehensive when I first played this DVD.
All I can say, I was glad no one could see me when it finished as I was clapping and shouting like a fool. I was in tears & could hardly speak as I was so emotional. Never have I seen such a production like this. The staging, cast, costumes, lighting & Orchestra were much more than I expected. Giuseppe Sabatini's Roberto matched Pendatchanska's Elizabetta to a tee. Roberto Serville & Ildiko Komlosi's Nottingham (Duke) & Sara (Duchess) were a perfectly matched husband & wife team. This is just one of those gems you stumble upon once in a life time. I just love this opera and have many recordings of it on LP, CD & DVD and I just happen to see this one and bought it on speck, not knowing what it would be like & got more than I bargained for. So it is unashamedly that I can strongly recommend this version to you over all the others. I'm not usually pushy in my reviews, but this opera has changed that.
The quality of the picture is perfect and you are offered two sound systems; Dolby Stereo & Dolby 5.1 Surround; which brings me to mention a couple of times the singers go off mike, but on the whole the sound is very good.
Rating: - Could not there be more stars?
Amazing!
Couldn't imagine modern operatic production could reach such high level.
Elizabeth I and Robert Dudley are well-known historical characters, but Donizetti's opera is less well-known.
With the swerve of Elizabethan mania these days over Helen Mirren's performances for the two Queen Elizabeths, one cannot help but recall this almost 10-year old opera recording.
Too much praise is due to Sabbatini and Pendachanska's singing. I note that some viewers here call her an unknown Russian or European soprano.
Well, she is not famed for beauty (though she in fact has ample share of it), and in this opera she successfully portrays an aged (and ugly) ERI.
I wonder if she would have hitted the headlines then when she starred in a role that shows her beauty off - too much pity that her 2002 La Traviata wasn't recorded on DVD.
Wonder if Anna Netrebko would have any chance now had Pendachanska had more luck then.
Rating:
- Great production, cast, despite vocal problems of Pendatchanska
In terms of production splendor, this one is indeed,
spectacular. The most sumptuous sets and costumes are to be
found on this Image Entertainment release of Roberto
Devereux, which originates from the San Carlo Theater in
Naples (there's no performance date listed anywhere on the
box or even in the program; the packaging lists a 1998
copyright). Here, the stage and performers are decked out
in dazzling Elizabethan splendor, not a detail or expense
spared: they are truly of cinematic quality. Elizabeth
herself is outfitted straight out of one of her paintings,
and her throne likewise: we really do get the sense of the
time and place, and, most rewardingly, the richness of the
fabrics and colors complements Donizetti's similarly
textured score.
A particularly fine touch is having Elisabetta begin her
big last act scena in her chambers, decked out in plain
nightclothes, revealing the rather pathetic woman outside
of her royal guise; however, we see her partially
transformed again into the Queen, as her ladies-in-waiting
bewig and dress her expediently for Sara's sudden
appearance onto the scene. All of the care lavished here
makes this a superior production, and showcases Donizetti's
masterful work in the most tributary and deserving way.
The star of this production is Giuseppe Sabatini in the
title role. The tenor displays an excitingly pingy tone,
which he uses with real skill and unfailing taste. His
account of Devereux's last act aria, "Come una spirito
angelico" is phrased and sung with style and world-class
distinction; Sabatini, unlike José Carreras (who foolishly
moved on to heavier roles, with dire results) has not
disdained to make bel canto a specialty career, and having
a tenor of his means in a repertory, where in this
department is usually short-changed, is a revelation - a
welcome extravagance one might add. Furthermore, Sabatini,
tall and dignified of presence, is an accomplished actor;
he moves well, displays a myriad of emotions with
credibility and dignity.
The Dysfunctional Ones, Nottingham and his wife Sara,
are well taken by Roberto Servile and Ildiko Komlosi. The
baritone, tall, dark and distinguished looking, is an
unsually good actor, as he does a fine job of displaying
his horror at discovering his wife's indiscretions, and the
resulting bitterness and vengeance. Though his big aria,
"Forse in quel cor sensibile" lacks the last degree in
polish, Servile has at least a more-than-serviceable
instrument, and his combined qualities make for a better
than average Nottingham. Mezzo Ildiko Komlosi as the
troubled Duchess is an exceptionally comely woman, and she
presents an sympathetic, properly anguished portrayal.
Though her warm, rich voice displays a shining middle
register, aptly "tear-stained" for the opening
"All'afflitto e dolce pianto ( whose melody is said to have
inspired Verdi's chorus "Va, persiero" from Nabucco), the
voice can spread out in its upper regions (indeed, one
finds it strange that in all three of these releases, the
"seconda donna", all roles calling for a soprano, are
delegated to mezzo-sopranos).
Alexandrina Pendatchanska's Elisabetta is the
performance's principal force and conversely the most
controversial element. Certainly the soprano gives an
intense, almost maniacally driven portrayal, and is never
at a loss to convey the Queen's inner torture, desperate
anger, and aching loneliness. This she does by a tireless
display of physical and facial expressions. In addition,
Pendatchanska authoritatively embodies the regal, imperious
side of the monarch, not to mention that of a conversely
jealous, insecure, fiercely impatient woman. The
"homework" has been done, the motivations and psychology
"worked out," and nothing is left to chance...or, chanska
(sorry)?
There is a grave downside, though. For all of
Pendatchanska's dedicated work, the fact remains, her vocal
technique, or lack thereof, is a serious liability,
especially in this fiendishly difficult music. The voice
itself seems to be produced by sheer determination and
force of will. The few natural notes in the middle of her
range notwithstanding, the soprano's instrument cannot
withstand any pressure at all above the staff, after which
the voice acquires an alarmingly hard, driven, and very
fast vibrato. If she indeed studied with Dimitrova, you can
hear it; they share that same, narrow, driven upper
register. The machine gun analogy or goat bleating,
unfortunately, is all too apt here. After a while, this
incessant countenance becomes very wearisome to the ear.
The placement of the voice is so far back and in the
throat, coloratura passages (which are decorated in their
second verses) have no dexterity, whizzing velocity or
lightness of execution, and the upper notes are painfully
negotiated. It's all forced: the voice never floats. She
cannot sing precise, filigree turns in the higher portions
of her range (as in "Ah, ritorna qual ti spero"); she
hurries through them nervously. When she sings the second,
variant statement of "il tradimento orribile la sua
perfidia e certa" (pg 83 in the vocal score), the rapid,
jagged sequence of notes are blurred. Pendatchanska drops
vowels because the placement is so far back; in the
storming downward-scale expression of rage "Un perfido,"
she omits the 'f' in the word, so that it becomes "perido."
"Vivi ingrato" has some finely limned singing, but in the
"poco piu" section of "Vivi ingrato m'abbandona" that
should have a great, sweeping downward arch, the top note B
on 'do' is squally, spread, and effortful. The amazing
*maestoso* closing finds Pendatchanska *in extremis*,
pushed to her very limits - giving her all, and sounding
it. The sopracuti that Pendatchanska amazingly
incorporates at the end of the first aria and after the mad
scene, are practically larrupped and flogged into place;
the big preparatory breath and the great physical effort
she exerts makes it appear as is she is readying to upchuck
the notes. The viewer cannot help but feel a strong tinge
of regret at Pedatchanska's deficiency of technique, for
her presence and constantly alert expressiveness are
exactly what this sort of role needs; however, half of the
needed requirements for the role cannot make for a complete
portrayal.
Alain Guingal, the conductor, leads the orchestra
(occasionally scrappy) with more precision than is usual in
this repertory, imparting a nice Verdian thrust at
climaxes. Sometimes rhythms can be punchy and inelegant
(most notably for the royal, brass-laden flourishes that
signal the Queen's first entrance), but for the most part,
Donizetti's score (with some textual trims here and there)
is treated with care and deference. The wide-ranging sound
quality is superb - theatrical, spacious and brilliant.
Camerawork is amateurish, despite the quality of picture.
Pivotal moments are missed, inappropriate moments are
zoomed in on, and has no conception of the crucial dramatic
points.
Rating: - When 2 is more than enough to make 5
My 5-star review is based on the two leads in this production. While the rest of the cast was adequate, these two lifted it to a high plane of achievement. Of course, the other star-performer, Donizetti, gets his accolades as ever for his rich and irresistable melodies.
The singing by Pendatchanska and Sabatini was beyond praise. Both rose to an occasion that I am thrilled to have had captured (since I wasn't in Naples that night). I cannot understand how one human can sing the queen without being scraped vocally raw by evening's end, but Pendatchanska finished this grueling role with panache and beauty of tone. Sabatini while not having as much demanded, sang with lyricism and heart -- something I have not always found in abundance in the past with him in live performance. Perhaps it was just me, because he certainly acquitted himself beautifully here.
This is a treasurable performance and will stay on my "5-star" shelf with the very few others that earn that rating from me.
Rating: - Why isn't Pendatchanska at the Met????
It's all been said in the raves above. Pendatchanska is thrilling. If you have the luck to be in NY in April, she will be at NYCO in ERMIONE.
- Roberto ExcellenceI now have two Roberto Devereux's on DVD, one with Beverley Sills & this one with Alexandrina Pendatchanska. I raved about the Sills recording; but having seen this one, I am gob-smacked. I thought Sills could act! You haven't seen anything till you see Pendatchanska's Elizabetta. It is so life-like, it's scary. To be perfectly honest, I had never heard of this woman until now. I did not know what I was getting, as I did not know any of the cast, so I was apprehensive when I first played this DVD.
All I can say, I was glad no one could see me when it finished as I was clapping and shouting like a fool. I was in tears & could hardly speak as I was so emotional. Never have I seen such a production like this. The staging, cast, costumes, lighting & Orchestra were much more than I expected. Giuseppe Sabatini's Roberto matched Pendatchanska's Elizabetta to a tee. Roberto Serville & Ildiko Komlosi's Nottingham (Duke) & Sara (Duchess) were a perfectly matched husband & wife team. This is just one of those gems you stumble upon once in a life time. I just love this opera and have many recordings of it on LP, CD & DVD and I just happen to see this one and bought it on speck, not knowing what it would be like & got more than I bargained for. So it is unashamedly that I can strongly recommend this version to you over all the others. I'm not usually pushy in my reviews, but this opera has changed that.
The quality of the picture is perfect and you are offered two sound systems; Dolby Stereo & Dolby 5.1 Surround; which brings me to mention a couple of times the singers go off mike, but on the whole the sound is very good.
Rating:
- Could not there be more stars?Amazing!
Couldn't imagine modern operatic production could reach such high level.
Elizabeth I and Robert Dudley are well-known historical characters, but Donizetti's opera is less well-known.
With the swerve of Elizabethan mania these days over Helen Mirren's performances for the two Queen Elizabeths, one cannot help but recall this almost 10-year old opera recording.
Too much praise is due to Sabbatini and Pendachanska's singing. I note that some viewers here call her an unknown Russian or European soprano.
Well, she is not famed for beauty (though she in fact has ample share of it), and in this opera she successfully portrays an aged (and ugly) ERI.
I wonder if she would have hitted the headlines then when she starred in a role that shows her beauty off - too much pity that her 2002 La Traviata wasn't recorded on DVD.
Wonder if Anna Netrebko would have any chance now had Pendachanska had more luck then.
Rating:
- Great production, cast, despite vocal problems of PendatchanskaIn terms of production splendor, this one is indeed,
spectacular. The most sumptuous sets and costumes are to be
found on this Image Entertainment release of Roberto
Devereux, which originates from the San Carlo Theater in
Naples (there's no performance date listed anywhere on the
box or even in the program; the packaging lists a 1998
copyright). Here, the stage and performers are decked out
in dazzling Elizabethan splendor, not a detail or expense
spared: they are truly of cinematic quality. Elizabeth
herself is outfitted straight out of one of her paintings,
and her throne likewise: we really do get the sense of the
time and place, and, most rewardingly, the richness of the
fabrics and colors complements Donizetti's similarly
textured score.
A particularly fine touch is having Elisabetta begin her
big last act scena in her chambers, decked out in plain
nightclothes, revealing the rather pathetic woman outside
of her royal guise; however, we see her partially
transformed again into the Queen, as her ladies-in-waiting
bewig and dress her expediently for Sara's sudden
appearance onto the scene. All of the care lavished here
makes this a superior production, and showcases Donizetti's
masterful work in the most tributary and deserving way.
The star of this production is Giuseppe Sabatini in the
title role. The tenor displays an excitingly pingy tone,
which he uses with real skill and unfailing taste. His
account of Devereux's last act aria, "Come una spirito
angelico" is phrased and sung with style and world-class
distinction; Sabatini, unlike José Carreras (who foolishly
moved on to heavier roles, with dire results) has not
disdained to make bel canto a specialty career, and having
a tenor of his means in a repertory, where in this
department is usually short-changed, is a revelation - a
welcome extravagance one might add. Furthermore, Sabatini,
tall and dignified of presence, is an accomplished actor;
he moves well, displays a myriad of emotions with
credibility and dignity.
The Dysfunctional Ones, Nottingham and his wife Sara,
are well taken by Roberto Servile and Ildiko Komlosi. The
baritone, tall, dark and distinguished looking, is an
unsually good actor, as he does a fine job of displaying
his horror at discovering his wife's indiscretions, and the
resulting bitterness and vengeance. Though his big aria,
"Forse in quel cor sensibile" lacks the last degree in
polish, Servile has at least a more-than-serviceable
instrument, and his combined qualities make for a better
than average Nottingham. Mezzo Ildiko Komlosi as the
troubled Duchess is an exceptionally comely woman, and she
presents an sympathetic, properly anguished portrayal.
Though her warm, rich voice displays a shining middle
register, aptly "tear-stained" for the opening
"All'afflitto e dolce pianto ( whose melody is said to have
inspired Verdi's chorus "Va, persiero" from Nabucco), the
voice can spread out in its upper regions (indeed, one
finds it strange that in all three of these releases, the
"seconda donna", all roles calling for a soprano, are
delegated to mezzo-sopranos).
Alexandrina Pendatchanska's Elisabetta is the
performance's principal force and conversely the most
controversial element. Certainly the soprano gives an
intense, almost maniacally driven portrayal, and is never
at a loss to convey the Queen's inner torture, desperate
anger, and aching loneliness. This she does by a tireless
display of physical and facial expressions. In addition,
Pendatchanska authoritatively embodies the regal, imperious
side of the monarch, not to mention that of a conversely
jealous, insecure, fiercely impatient woman. The
"homework" has been done, the motivations and psychology
"worked out," and nothing is left to chance...or, chanska
(sorry)?
There is a grave downside, though. For all of
Pendatchanska's dedicated work, the fact remains, her vocal
technique, or lack thereof, is a serious liability,
especially in this fiendishly difficult music. The voice
itself seems to be produced by sheer determination and
force of will. The few natural notes in the middle of her
range notwithstanding, the soprano's instrument cannot
withstand any pressure at all above the staff, after which
the voice acquires an alarmingly hard, driven, and very
fast vibrato. If she indeed studied with Dimitrova, you can
hear it; they share that same, narrow, driven upper
register. The machine gun analogy or goat bleating,
unfortunately, is all too apt here. After a while, this
incessant countenance becomes very wearisome to the ear.
The placement of the voice is so far back and in the
throat, coloratura passages (which are decorated in their
second verses) have no dexterity, whizzing velocity or
lightness of execution, and the upper notes are painfully
negotiated. It's all forced: the voice never floats. She
cannot sing precise, filigree turns in the higher portions
of her range (as in "Ah, ritorna qual ti spero"); she
hurries through them nervously. When she sings the second,
variant statement of "il tradimento orribile la sua
perfidia e certa" (pg 83 in the vocal score), the rapid,
jagged sequence of notes are blurred. Pendatchanska drops
vowels because the placement is so far back; in the
storming downward-scale expression of rage "Un perfido,"
she omits the 'f' in the word, so that it becomes "perido."
"Vivi ingrato" has some finely limned singing, but in the
"poco piu" section of "Vivi ingrato m'abbandona" that
should have a great, sweeping downward arch, the top note B
on 'do' is squally, spread, and effortful. The amazing
*maestoso* closing finds Pendatchanska *in extremis*,
pushed to her very limits - giving her all, and sounding
it. The sopracuti that Pendatchanska amazingly
incorporates at the end of the first aria and after the mad
scene, are practically larrupped and flogged into place;
the big preparatory breath and the great physical effort
she exerts makes it appear as is she is readying to upchuck
the notes. The viewer cannot help but feel a strong tinge
of regret at Pedatchanska's deficiency of technique, for
her presence and constantly alert expressiveness are
exactly what this sort of role needs; however, half of the
needed requirements for the role cannot make for a complete
portrayal.
Alain Guingal, the conductor, leads the orchestra
(occasionally scrappy) with more precision than is usual in
this repertory, imparting a nice Verdian thrust at
climaxes. Sometimes rhythms can be punchy and inelegant
(most notably for the royal, brass-laden flourishes that
signal the Queen's first entrance), but for the most part,
Donizetti's score (with some textual trims here and there)
is treated with care and deference. The wide-ranging sound
quality is superb - theatrical, spacious and brilliant.
Camerawork is amateurish, despite the quality of picture.
Pivotal moments are missed, inappropriate moments are
zoomed in on, and has no conception of the crucial dramatic
points.
Rating:
- When 2 is more than enough to make 5My 5-star review is based on the two leads in this production. While the rest of the cast was adequate, these two lifted it to a high plane of achievement. Of course, the other star-performer, Donizetti, gets his accolades as ever for his rich and irresistable melodies.
The singing by Pendatchanska and Sabatini was beyond praise. Both rose to an occasion that I am thrilled to have had captured (since I wasn't in Naples that night). I cannot understand how one human can sing the queen without being scraped vocally raw by evening's end, but Pendatchanska finished this grueling role with panache and beauty of tone. Sabatini while not having as much demanded, sang with lyricism and heart -- something I have not always found in abundance in the past with him in live performance. Perhaps it was just me, because he certainly acquitted himself beautifully here.
This is a treasurable performance and will stay on my "5-star" shelf with the very few others that earn that rating from me.
Rating:
- Why isn't Pendatchanska at the Met????It's all been said in the raves above. Pendatchanska is thrilling. If you have the luck to be in NY in April, she will be at NYCO in ERMIONE.