Rating: 
Summary: This is the real thing...
Review: ... enjoy grand opera at its grandest. placido domingo, jessye norman and tatiana troyanos never recorded these roles elsewhere, and norman alone justifies this set. her cassandra is a portrayal on the biggest possible scale, overwhelming in close-up, and she's in prodigious voice. the sadly underrecorded troyanos is both regal and moving, and her fury at enee's betrayal is truly scary. though domingo is stretched by his role's stentorian moments, the sheer beauty of his tone shines through, and he looks the part. brian large's direction is alert to the drama and avoids monotony during the show's many stand-and-deliver moments; given plus-size artists in key roles, he shows them to their best advantage. the sound and picture are both crisp, and the opera is amply indexed for easy highlights access. shut your eyes during the dance sequences: the choreography is both dull and badly executed. the rest of the show (over four hours long) will delight you.
Rating: 
Summary: A great opera and a great cast
Review: Berlioz's LES TROYENS is a unique grand opera. It really deserves to be heard, but also seen. And with the extraordinary staging demands of this opera, now is the time for the major opera companies of the world to be staging this demanding and rewarding work.The Metropolitan Opera decided to open its Centennial year with a revival of its 1976 (?) production. The sets are too dark and drab, leaving much to be desired. And the staging is stodgy. But the music-making is first-rate. I concur with all the other reviewers that Jessye Norman is singularly magnificent as Cassandra. Having also heard an audio recording of her Dido (in a radio broadcast in which she sang Cassandra as well!!), I wish that this video/DVD could have captured Norman's Dido as well. Her rendition of this role is even more remarkable than her Cassandra. MET audiences gave her several-minute-long ovations when she sang Dido in the 83-84 season. Having said that, Troyanos is still wonderful in this performance. Domingo is also top-notch. However, the role was generally too high for his voice and he had to transpose down entire chunks of the music. The rest of the cast is also great. James Levine leads a rewarding performance, skilfully conveying the grand drama as well as the subtle details of the score. I'm looking forward to a new production of this opera at the MET this season. However, the 1983 cast won't be matched for quite a while.
Rating:
Summary: A great opera and a great cast
Review: Berlioz's LES TROYENS is a unique grand opera. It really deserves to be heard, but also seen. And with the extraordinary staging demands of this opera, now is the time for the major opera companies of the world to be staging this demanding and rewarding work. The Metropolitan Opera decided to open its Centennial year with a revival of its 1976 (?) production. The sets are too dark and drab, leaving much to be desired. And the staging is stodgy. But the music-making is first-rate. I concur with all the other reviewers that Jessye Norman is singularly magnificent as Cassandra. Having also heard an audio recording of her Dido (in a radio broadcast in which she sang Cassandra as well!!), I wish that this video/DVD could have captured Norman's Dido as well. Her rendition of this role is even more remarkable than her Cassandra. MET audiences gave her several-minute-long ovations when she sang Dido in the 83-84 season. Having said that, Troyanos is still wonderful in this performance. Domingo is also top-notch. However, the role was generally too high for his voice and he had to transpose down entire chunks of the music. The rest of the cast is also great. James Levine leads a rewarding performance, skilfully conveying the grand drama as well as the subtle details of the score. I'm looking forward to a new production of this opera at the MET this season. However, the 1983 cast won't be matched for quite a while.
Rating:
Summary: Lots of high points, a few lows
Review: I fell in love with the story of the Trojan War, even before I sold my soul to classical music. So naturally I was drawn to this production of "Les Troyens." And there are some astonishing moments here! Norman is wildly gripping in the part of Cassandra, totally dominating the stage and the first part of the opera. Domingo makes for a strong, masculine Aeneas, and although he had some doubts about singing the part, does a fine job with it. Troyanos is good, but not as blisteringly magnificent as Norman. I do have some problems with the staging, however. Right from the beginning, which should burst at the seems with wild excitement, we get the Trojans walking out, lining up, and declaiming that they are generally pleased the war is over. Um, couldn't they scurry, dance, hug...? The costumes seem to be of the historical epic type, but the er, "sets" are modernist symbolic. Is that the Trojan Horse they drag within the walls...? But don't get me wrong -- a solid production with some incredible singing, acting, and orchestral playing in a rich, fascinating opera that is too vast to be produced regularly. Very rewarding.
Rating:
Summary: Lots of high points, a few lows
Review: I fell in love with the story of the Trojan War, even before I sold my soul to classical music. So naturally I was drawn to this production of "Les Troyens." And there are some astonishing moments here! Norman is wildly gripping in the part of Cassandra, totally dominating the stage and the first part of the opera. Domingo makes for a strong, masculine Aeneas, and although he had some doubts about singing the part, does a fine job with it. Troyanos is good, but not as blisteringly magnificent as Norman. I do have some problems with the staging, however. Right from the beginning, which should burst at the seems with wild excitement, we get the Trojans walking out, lining up, and declaiming that they are generally pleased the war is over. Um, couldn't they scurry, dance, hug...? The costumes seem to be of the historical epic type, but the er, "sets" are modernist symbolic. Is that the Trojan Horse they drag within the walls...? But don't get me wrong -- a solid production with some incredible singing, acting, and orchestral playing in a rich, fascinating opera that is too vast to be produced regularly. Very rewarding.
Rating:
Summary: sheer excitement
Review: I have seen this production at the Met in person twice, and it is a joy to own the DVD. Jessye Norman is perfection as Cassandra. The rest of the cast is superb as well. And Bravo's to the Met Chorus who is as much a star in this opera as any of the soloists.
Rating:
Summary: A magnificent opera
Review: I have to confess that Les Troyens was completely new to me. Friends and musicologists have continued to tell me what a magnificent masterpiece it is, oh the lectures I have had by A'level music students at school when I have failed to mention it in my lecture on the History of Opera as an art form, but until now I have never had the opportunity to see or hear it. So we were very excited when it arrived, and in general we weren't disappointed. It covers a mamouth canvass and with mythology mixed with history it has a tremendous story. Part I, The Capture of Troy, is just magnificent in every respect of musical structure and dramatic impact. Jessye Norman is faultless, what an artist. This section of the opera could stand alone in the fashion of Act I of Die Walkure. This is an excellent production with an excellent cast. I disagree with am earlier reviewer, I think Placido Domingo is excellent - although I can see why he never attempted the very demading role of Aeneas again. Part II, The Trogens in Carthage, I feel sometimes looses it's way and dare I suggest perhaps could have been trimmed and tightened up. The ballet sequences, so essential in French Grand Opera, are too numerous and too long and I think unnecessary. The plot rambles a bit too, as does the music. Boito and Verdi proved that an absolute masterpiece can evolve from editing and pruning, look only to Simon Boccagnegra, so I don't think I am being too outrageous here. Tatiana Troyanos as Dido is not in the same league as Jessye Norman and Domingo, but she is good none the less. Aeneas's decision to leave is fraught with emotion and deserves the ovation, and Dido's sacrifice is very moving. This is a very good release, and an excellent introduction to people like myself, unfamiliar with the work. I highly recommend it. When it arrives, pour your self some wine, put on your surround sound and immerse yourself in this tragic and moving tale. It was a fitting tribute to the Met in it's Centennial Year, and has proved to be a very satisfying release. I do not hesitate to recommend it to you.
Rating:
Summary: A magnificent opera
Review: I have to confess that Les Troyens was completely new to me. Friends and musicologists have continued to tell me what a magnificent masterpiece it is, oh the lectures I have had by A'level music students at school when I have failed to mention it in my lecture on the History of Opera as an art form, but until now I have never had the opportunity to see or hear it. So we were very excited when it arrived, and in general we weren't disappointed. It covers a mamouth canvass and with mythology mixed with history it has a tremendous story. Part I, The Capture of Troy, is just magnificent in every respect of musical structure and dramatic impact. Jessye Norman is faultless, what an artist. This section of the opera could stand alone in the fashion of Act I of Die Walkure. This is an excellent production with an excellent cast. I disagree with am earlier reviewer, I think Placido Domingo is excellent - although I can see why he never attempted the very demading role of Aeneas again. Part II, The Trogens in Carthage, I feel sometimes looses it's way and dare I suggest perhaps could have been trimmed and tightened up. The ballet sequences, so essential in French Grand Opera, are too numerous and too long and I think unnecessary. The plot rambles a bit too, as does the music. Boito and Verdi proved that an absolute masterpiece can evolve from editing and pruning, look only to Simon Boccagnegra, so I don't think I am being too outrageous here. Tatiana Troyanos as Dido is not in the same league as Jessye Norman and Domingo, but she is good none the less. Aeneas's decision to leave is fraught with emotion and deserves the ovation, and Dido's sacrifice is very moving. This is a very good release, and an excellent introduction to people like myself, unfamiliar with the work. I highly recommend it. When it arrives, pour your self some wine, put on your surround sound and immerse yourself in this tragic and moving tale. It was a fitting tribute to the Met in it's Centennial Year, and has proved to be a very satisfying release. I do not hesitate to recommend it to you.
Rating: 
Summary: good music, bad theatre
Review: I love the opera's of Hector Berlioz, who is one of the most important opera composers of the 19th century. His stature is comparable with that Richard Wagner who had been greatly influenced by the older French composer who - like Wagner - preferred to write music to his own words. In fact, I believe "Les Troyens" is one of the greatest opera's ever written and its music has been with me as long as I can remember.
Looking at the reviews of this DVD on Amazon, I was surprised to find out that so many people gave it a good rating. The reason for this - I soon found out - was that almost everybody was blinded by the vocal abilities of J. Norman. I admit that, if we are talking about voices, she is the star of the evening, but let us be honest. She is not much of an actress. Nor is any other member of this cast. Isn't the theatre-aspect in an opera not just as important as the musical-aspect of it?
What we see here is a typical Metropolitan production showing us a lot of stars and a lot of shiny armours, crowded stages and out-dated choreography. Good music, combined with bad theatre. Take Norman's Cassandra, for instance. The role of Cassandra is my favourite and starting at the duet with Chorèbe, until her epiphany at the end of act I, you realise that this woman should be seen suffering from a tragic condition that slowly renders her to despair. Norman is as mad as a hatter from the first moment we see her. There is not much room for development of this character, for a gentle crescendo into her madness.
In the second act, Cassandra should be resolute. She has overcome her tragic blindness (what the Greek called "hamartia"), and understands the fate of her self and her people, but in Norman I could find nothing of this tragic heroine. She continues to overact, to make funny faces, to nearly faint a couple of times, to wave her arms theatrically through the air; not to mention the eyes: I thought they would pop out. I think Norman `overacts' all the way and so do the others of whom I could give similar examples.
The stage-design was extremely conservative, too much kitsch, too tacky. The costumes are outdated about a hundred years and the props look stupid, especially Chorèbes giant axe, that made him look like Gimli in Lord of the Rings. The choreography is immensely static - what do you want, with such a tacky scène and so many people - and lacks any inspiration.
In short, this DVD is too boring to watch. It is old-fashioned, tacky and tasteless. Don't buy it. Instead you could check out Gardiner's production of this opera, made in Paris last year (in the very theatre this opera was written for). That was a brilliant performance. I haven't written a review of that DVD since everything has already been said about it by other Amazon-reviewers. So, if you want, compare the Paris-production with the New York-production. It's day and night!
Rating:
Summary: Oh-Mi-God
Review: I saw the original broadcast on PBS and bought the VHS tape when it came out. It is overpowering and you will remember Norman's Cassandra forever. She enters like a great ship, forging across the stage and sings her guts out. The Death of Troy becomes real and her torture becomes your torture: to know the tragedy that will come but no one believes. Troyanos as Dido, she would not live out the decade. Buy this and listen and sit in fear.
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