Comparison audio recording. 
                Neeme Järvi, Aleksashkin, Larin, 
                Chernov, Caley, Kotscherga, Gothenburg 
                SO [58.34] DG 453 454-2 
              
The "Interviews" 
                feature is actually a cinema essay on 
                the opera with contributions by the 
                conductor, the star singer, and the 
                director, including excerpts from the 
                opera. Director Arden explains how and 
                why she added the non-singing role of 
                Greed personified, played by aerialist 
                Leyser, who hovers above the action 
                like a huge grasping spider, then crawls 
                up and down the walls of the set. Conductor 
                Jurowski explains why this work was 
                not well received in Russia. Rachmaninov 
                did not follow the path laid out by 
                Dargomyzhsky in Stone Guest, 
                essentially an accompanied recitative 
                where the words of the poetry were all-important, 
                but instead followed the Tchaikovsky 
                ("German") idea of music first, 
                then the words. This was also the reason 
                Chaliapin at first declined to sing 
                the role. As a result this opera listens 
                very well, even if you don’t follow 
                the story. Only Rachmaninov’s opera 
                Aleko attained popularity in 
                Russia because it is more in the Dargomyzhsky 
                mould. 
              
 
              
In the preview of Gianni 
                Schicchi, conductor and director 
                explain why they made them a double 
                bill, a single evening of opera, in 
                that the Rachmaninov ends with the death 
                of a miser while Gianni Schicchi begins 
                with the death of one — on the same 
                set! However, you only get one opera 
                per DVD, which on the one hand means 
                you have to buy them separately, and 
                on the other hand means you may buy 
                them separately if you want one opera 
                and don’t want the other. 
              
 
              
This production was 
                recorded in high definition video, and 
                hence should be available on high definition 
                DVD in a year or so. If you have not 
                seen high definition television you 
                are in for a jaw-dropping experience. 
                It is clearer than motion picture film! 
                For opera productions like this it means 
                much more expensive sets and costumes, 
                more realistic acting and makeup, because 
                of the extremely fine detail which is 
                now visible. If you plan to upgrade 
                to high definition television, you may 
                want to wait and purchase this DVD in 
                the HD mode. However, for the rest of 
                us, there is plenty of detail on this 
                exquisitely clear disk, it is difficult 
                to imagine wanting more. 
              
 
              
The Järvi performance 
                is every bit as good a performance as 
                the Jurowski, somewhat quicker in tempo 
                and a little brighter in tone; the voices 
                have a more Italian quality to them. 
                Or maybe it’s just the heavy gloom of 
                the dark sets on the video affecting 
                one’s perception of the music. 
              
 
              
Depending on how you 
                look at it this is a fine vocal tone 
                poem; either that or a morbid verismo 
                opera. You choose. Leiferkus gives a 
                great performance. Innovative staging. 
              
 
              
Paul Shoemaker