Rating: 
Summary: The whole slightly less than the sum of the parts...
Review: Certainly I found this an enjoyable night's viewing, and rewatchable. The production is appropriately spectacular, the score frizzes with the excitement it should, and the principals parts are all taken by stars.Leona Mitchell sings a wonderful Liu, shading her tone beautifully and floating the high notes as any worthwhile Liu should. Eva Marton has a big voice that would have been great live but by 1988 had developed a judder in her voice that recording shows up glaringly. Her high notes sometimes squall - something hard to square with the idea of a sexually irresistable ice princess, whose top notes should be clear and, well, icy. I found Domingo's Calaf is enjoyable enough but Chris' reservations are not without warrant. Paul Plishka makes a good Timur and Ping, Pang and Pong fuss about as they should. All in all, a performance that I am happy to have, but would be grateful for a better one. Sound DTS 5.1; Dolby 5.1 and PCM Stereo. Picture 4:3. Subtitles Italian; English; German; French; Spanish; Chinese. 132 mins.
Rating: 
Summary: Turandot excepcional
Review: Esta produccion de 1989 en el Met es la mejor opcion existente para ver Turandot. Esplendido y lujosisimo montaje escenico (de FRANCO ZEFIRELLI, que sabe usar bien los movimientos de masas para crear efectos impresionantes en una escenografia mucho mas convencional de lo que parece). Vocalmente rinden sobresalientemente el heroico y apasionado Calaf de PLACIDO DOMINGO, la sensible, y extraordinariamente cantada Liu de LEONA MITCHEL y ese coloso que es EVA MARTON, una Turandot que ya impresiona desde su primera aparicion, hacia la mitad de la obra, con 'In questa reggia'. Notable PAUL PLISHKA como Timur, al igual que todos los secundarios (todos ellos 'de la casa') entre los que destaca la presencia del veteranisimo HUGUES GUENOD como el Emperador Altoum.
JAMES LEVINE consigue una de sus mas destacables interpretaciones al mando de los cuerpos estables del Met (tambien extraordinarios coros y orquesta por cierto), dotando a la obra de toda la fuerza que precisa.
Rating:
Summary: Masterpiece in magnificent performance
Review: I have seen other version of performances of this masterpiece opera by Puccini. I was not so impressed before and has been thinking that Puccini is not my appetite therefore not so enjoyable as other composers like Mozart or Verdi or Rossini. However, after having seen this version performed by the Met with such superb and wellknown singers, I realized that this music is as beautiful and enjoyable as other operas and shall be regarded as one of the masterpieces of operas.
Placido Domingo as Calaf and Eva Marton as Turandot are such super stars in singing as well in acting to be able to present the music into a divine and enchanting entirety. Also other singers like Mitchel as Liu matched the beautiful singing of the two above. The costumes and background sets was arranged in such elegant and rich designs which is as perfect and harmoniously matching to the place and contents of the story itself which make the entire opera a complete magnificent performance.
I enjoy the whole performance immensely and thereafter realize that opera performances not only depend on the music itself but mainly on the immensity and magnitude of the performance and singers.
Rating:
Summary: The Ultimate Conventional Turandot
Review: If you want a conventional production of Turandot -- i.e., one that attempts to set the opera in some interpretation of ancient China -- this is the one for you. As usual with Zeffirelli productions at the Met, no expense is spared in producing the spectacle. Peking in Act I is depicted in a multi-level set as a teeming hive of activity, amongst which Mandarins and soldiers push their way. The emperor's palace in Act II, Scene 2, is as lush as any illustration in any edition of Grimm's Fairy Tales. The chorus and extras probably double the number used in most productions. The costumes are varied and rich in detail. And so on... None of this is meant to be a criticism, just a description of the production values. The Met assembled an impressive cast to handle the big four roles, and they handled them all well. Eva Marton and Kathleen Battle both sing well and appear lovely in the roles of the female protagonists. Placido Domingo illustrates in his portrayal of Calaf why he is the primario of the so-called three tenors. Paul Plishka sings the somewhat lesser role of Timur at a level of intensity and ability commensurate with the rest of the cast. My criticisms, admittedly small, with this performance lie in two areas. First, the three ministers, Ping, Pang, and Pong, generally seem to fade into the background. The Met reached into its stable of comprimarios to cast these roles, and it shows. They don't compare well to the enormous primario horsepower that appears on the stage. Second, a few Zeffirelli tricks don't work. Primary among these is the replacement of the singing Ping, Pang, and Pong with masked dancers during the trial scene. The "masks" cavort around and pull flags out of Turandot's back as Calaf successfully answers the three riddles. Now what is this all about? Nonetheless, if you have never seen Turandot, this isn't a bad starting point. Then, when you have it down, go take a look at the San Francisco and Saltzburg productions. The contrasts will make you wonder what would have happened had Puccini lived only a couple of years more.
Rating:
Summary: The Ultimate Conventional Turandot
Review: If you want a conventional production of Turandot -- i.e., one that attempts to set the opera in some interpretation of ancient China -- this is the one for you. As usual with Zeffirelli productions at the Met, no expense is spared in producing the spectacle. Peking in Act I is depicted in a multi-level set as a teeming hive of activity, amongst which Mandarins and soldiers push their way. The emperor's palace in Act II, Scene 2, is as lush as any illustration in any edition of Grimm's Fairy Tales. The chorus and extras probably double the number used in most productions. The costumes are varied and rich in detail. And so on... None of this is meant to be a criticism, just a description of the production values. The Met assembled an impressive cast to handle the big four roles, and they handled them all well. Eva Marton and Kathleen Battle both sing well and appear lovely in the roles of the female protagonists. Placido Domingo illustrates in his portrayal of Calaf why he is the primario of the so-called three tenors. Paul Plishka sings the somewhat lesser role of Timur at a level of intensity and ability commensurate with the rest of the cast. My criticisms, admittedly small, with this performance lie in two areas. First, the three ministers, Ping, Pang, and Pong, generally seem to fade into the background. The Met reached into its stable of comprimarios to cast these roles, and it shows. They don't compare well to the enormous primario horsepower that appears on the stage. Second, a few Zeffirelli tricks don't work. Primary among these is the replacement of the singing Ping, Pang, and Pong with masked dancers during the trial scene. The "masks" cavort around and pull flags out of Turandot's back as Calaf successfully answers the three riddles. Now what is this all about? Nonetheless, if you have never seen Turandot, this isn't a bad starting point. Then, when you have it down, go take a look at the San Francisco and Saltzburg productions. The contrasts will make you wonder what would have happened had Puccini lived only a couple of years more.
Rating:
Summary: The Total Master Work
Review: It's difficult to me, to be objective with this film. So I resign. Simply, this Turandot's record is a document of the TOTAL SPECTACLE, as well as Wagner wanted that his operas were the Total Master Work , Puccini achieved it.
The opera is beautiful, exciting and covers all the Puccini's forts: the drama, the lyricism of the Italian melody, the dense modern orquestación, the tenderness, the cruelty, the visceral thing, the humor, the grotesque thing, the exotismo; and any sewing as a perfect suit, that alone we are sorry that it was remaining incomplete with " the death of the master ", as Toscanini said, but whose Alfano's conclusion is sufficient.
This version possesses the performances and magnificent voices of Marton and Domingo. It is a testimony to possess the version in alive of Domingo (in study with Karajan), whose Calaf's immaculate conception, his performance fills of details and performances promoted by Zeffirelli, and taken advantage by the direction of Kirk Browning's cameras, is unforgetable. Marton, in one of her several Turandot's recordings, is powerful as her princess's role indicates, chill seemingly, but betrayed by several reactions of flirtation, and feminine surprise (in the cruxes seduced by the Calaf-Domingo's courage and in the torture of the Act 3 for Liu's loyalty); her voice resounds in the stage and melts the people, the Metropolitan and this spectator in his house. Hitherto this record already is a marvel. But these performances are inside a fabulous scenery (Zeffirelli), allegoric choreographies of China very beautiful and integrated to the moments of masses (cruxes and overcoat the wonderful final), many details of creation as for the libretto (Calaf's loving look to Timur-Liu after his victory, for example, again Zefirelli and opportunists for the camera), the choir (another personage in this opera) and the orchestra of the Metropolitan they work fabulously (some goofs of the direct take in VHS seemingly have been corrected in the step to the DVD).
Leona Mitchell's Liu does not make us forget the Scotto or Barbara Hendricks, she fulfills with her voice but she loses the concentration in any moments. Paul Plishka is a blind and aggrieved Timur for the pursuit, disconcerted by the attitude of his son, and subdued by Liu's death. Three masks are impeccably portrayed by Schexnayder (what will be of him?), Glassman and Laciura; justifying absolutely the incorporation of this curious comic trio in the action and also sometimes fearsome. Their unfolding with another dancers' trio that takes part in the ceremonies is interesting.
Will it be necessary to say that the sound is fabulous and the image (putting to test in the night scenes) of impeccable invoice?
This DVD is the whole experience. If you know someone who hates and does not understands the opera, give him this gift.
Rating: 
Summary: Domingo as calaf
Review: Placido Domingo is undoubtadably a very fine singer, musician and actor. The sets are magnificant, and as a visual it is great. However, musically there are many flaws, and this has much to do with Domingo's difficulty with the role. He may have warmth and spinto in the tone to match the heroicism of the role, but he can't sing the high tessitura, making a mess of the top C at the end of In questa reggia, and producing very narrow tone in many of the other difficult notes in the score. His last A crowning Nessun Dorma is ordinary to say the least. Maybe my fellow reviewers are getting misled by some wonderfully meaningful hand and arm gestures, but what about the singing?
The version from the Vienna state Opera, with Jose Carreras and Eva Marton from 1983, is from a period when Carreras could sing. His performance is everything that Domingo's isn't and most of all is technically secure (ie he can sing the role with Nessun Dorma much more convincing with a slower tempo and much better legato). Eva Marton is also better in this production rarely producing squalling above the stave as she does in the Met production. Maazel and the VPO in the pit are also better in many aspects. If you can get a copy of this on VHS, it is the real definitive version of Turandot and hopefully someone will see the sense in releasing it on DVD soon.
Rating:
Summary: Great DVD
Review: The stage looks just fabulous.
The orchestra sounds great under the direction of James Levine. Eva Marton is perfect for this role. Her voice so powerful yet with soft qualities. Domingo does very well here, but his "Nessun Dorma" is pretty weak... he's not Pavarotti. Over all, this is a must get DVD. I just bought it recently and you'll not be disappointed.
Rating:
Summary: Excellent DVD, Excellent Perfornances
Review: This DVD of Puccini's opera "Turandot" is from a performacne at the Met in April of 1987. First of all the casting is above average, second the production is first rate, and the singers are some of the Met's best. This DVD runs circles around the RCA one that was recorded in Peking with Zubin Mehta on the podium. will the RCA DVD has a lot going for it, the costumes and the scenery are quite impressive, the singers and the chorus act like they are just making a recording of the opera not performing it. Here Placido Domingo and Eva Marton et al bring their characters to life. The best part of this performance for me was the famous "riddle scene" it has just enough suspense and drama to make it memorable. All in all a great performance of a great opera.
Rating:
Summary: Excellent DVD, Excellent Perfornances
Review: This DVD of Puccini's opera "Turandot" is from a performacne at the Met in April of 1987. First of all the casting is above average, second the production is first rate, and the singers are some of the Met's best. This DVD runs circles around the RCA one that was recorded in Peking with Zubin Mehta on the podium. will the RCA DVD has a lot going for it, the costumes and the scenery are quite impressive, the singers and the chorus act like they are just making a recording of the opera not performing it. Here Placido Domingo and Eva Marton et al bring their characters to life. The best part of this performance for me was the famous "riddle scene" it has just enough suspense and drama to make it memorable. All in all a great performance of a great opera.
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