This performance is now released in tandem with Aida
from the La Scala production of 1986. Arthaus is issuing various pairs
of DVDs at a reduced price. Sometimes offers such as these are very much
curate’s eggs, but this pair is excellent. If you wish to have both these
operas on DVD, don’t hesitate; they are well worth having.
This was filmed in the Glyndebourne Opera house in
conjunction with TV South and Channel Four. The performance was recorded
without the presence of an audience, and the gain is considerable; no
extraneous noises add to the effect of the production. The sets are
very good, traditional in nature fitting the time scale of the drama.
Peter Hall’s production is first rate and added to the superb musical
direction of Bernard Haitink this performance is extremely strong.
As with many Glyndebourne productions the cast chosen
is not drawn from the normal celebrity roster, but you need not worry
in the slightest. The principals are absolutely superb with very strong,
characterful singing and good acting. Pride of the bunch are the Violetta
of Marie McLaughlin and the Alfredo of Walter McNeil. These two principals
hold the stage when they are performing, and I found their combined
performances very satisfying.
The video production is first rate with many close-ups
showing the emotions on the soloists’ faces. This means that they have
to feel the drama as it is progressing and this shines through the whole
performance. The sound is less than satisfactory, being determined for
domestic television listening. This means that it is a little coarse
and close up, but the balance between the orchestra and soloists is
satisfying. The lack of refinement in the sound is a shame because Haitink
inspires the LPO to play their hearts out. They play with a passion
which undoubtedly enhances the proceedings. The production is very clearly
for television; we only get a very brief glimpse of the conductor at
the beginning of Act 1. He is not seen again, even to take a curtain
call, (no audience), and therefore no curtain calls for anyone.
The shortcomings lie mainly at Verdi’s door; it takes
Violetta about half an hour to expire. About half way through this marathon,
I was hoping that she would stop singing about dying and die. This will
come as no surprise to opera fans used to the willing suspension of
disbelief. I am sure that they will love this performance. Recommended.
John Phillips