<< 1 >>
Rating: 
Summary: annoying stage production
Review: A good director can certainly make an opera more interesting and enjoyable by adding unusual touches, especially when they are done gracefully. Unfortunately, in this production the bizarre changes make no sense, and as far as I can tell, their only purpose is to draw attention to the stage director. Instead of enjoying the opera, I find myself just getting more and more distracted. I doubt I'll ever watch this annoying production again. What a pity. The opera Der Freischutz belongs in any desert island collection.
Rating: 
Summary: A failed experiment , poorly produced
Review: European audiences have seen the classics (such as Der Freischutz) too many times. Instead of traditional productions, European opera houses feel the need to add something different in an attempt to make the old new and interesting.Usually this fails, as it does in this production. Although there are some new elements I didn't mind, the added elements here were annoying and distracting. Der Freischutz is the kind of opera that I want one copy of in my collection, but this isn't it. When I come across a more traditional production I'll have to get it. There are few exciting DVD features. Simply subtitles in English, French or Japanese. The visual quality is poor - you can see the "digital squares" during the darker scenes (and there are many!).
Rating:
Summary: This should be entitled Der Freight's schutz
Review: Having just watched the Hamburg Opera's production of Weber's Der Freischütz; on TV, I would have say, "What a waste of a production".
This is one of my favourite German Operas, and I have never seen a decent production of it to date. I am a purist when it comes to opera and I HATE, HATE contemporary/modern productions of any kind. Stick to the script/score or leave it a lone, is my motto. The cast of this production, all unknown to me, sang & acted convincingly, considering the staging and costumes. I was also under the belief that the proscenium arch was to divide the stage from the audience! So, why in God's name have Simon Yand (Hermit); sitting in the audience; even though his powerful bass voice was stunning.
PLEASE!! can someone stage and record a conventional production of Der Freischütz without making a mockery of Weber's masterpiece and the composer himself. I'm sure that he's writhing in his grave at this very moment.
Rating:
Summary: This should be entitled Der Freight's schutz
Review: Having just watched the Hamburg Opera's production of Weber's Der Freischütz; on TV, I would have say, "What a waste of a production".
This is one of my favourite German Operas, and I have never seen a decent production of it to date. I am a purist when it comes to opera and I HATE, HATE contemporary/modern productions of any kind. Stick to the script/score or leave it a lone, is my motto. The cast of this production, all unknown to me, sang & acted convincingly, considering the staging and costumes. I was also under the belief that the proscenium arch was to divide the stage from the audience! So, why in God's name have Simon Yand (Hermit); sitting in the audience; even though his powerful bass voice was stunning.
PLEASE!! can someone stage and record a conventional production of Der Freischütz without making a mockery of Weber's masterpiece and the composer himself. I'm sure that he's writhing in his grave at this very moment.
Rating:
Summary: This should be entitled Der Freight's schutz
Review: Having just watched the Hamburg Opera?s production of Weber?s Der Freisch?tz; on TV, I would have say, ?What a waste of a production?.
This is one of my favourite German Operas, and I have never seen a decent production of it to date. I am a purist when it comes to opera and I HATE, HATE contemporary/modern productions of any kind. Stick to the script/score or leave it a lone, is my motto. The cast of this production, all unknown to me, sang & acted convincingly, considering the staging and costumes. I was also under the belief that the proscenium arch was to divide the stage from the audience! So, why in God?s name have Simon Yand (Hermit); sitting in the audience; even though his powerful bass voice was stunning.
PLEASE!! can someone stage and record a conventional production of Der Freisch?tz without making a mockery of Weber?s masterpiece and the composer himself. I?m sure that he?s writhing in his grave at this very moment.
Rating:
Summary: A Classroom Reenactment?
Review: If this is your first experience with Der Freischutz, you might do better to start with the Zurich Opera House's production, conducted by Nikolaus Harnoncourt. That version, though also rather minimalist, is closer to Weber's original intent, and thus is easier to follow and enjoy.
If you're familiar with this opera, you will find several things here to enjoy and savor. One is the beautiful, rich voice of Simon Yang as the Hermit, who does most of his singing from a seat in the audience. Another surprise is giving the demonic Samiel a sort of alter ego, in the form of a beautiful violinist with little horns and a devilish presence around Agathe and Annchen. She actually plays that violin, with a sardonic flair that would be appreciated by Franz Liszt.
So, if you're familiar with the opera, you'll find things to enjoy about this production. If you were expecting to see Weber's story of hunting, guns, and selling your soul to the Devil, well, this production is more like what you'd expect to see in a school classroom reenactment of the opera.
Rating: 
Summary: Generally good but flawed production
Review: Weber's <Der Freischutz> is not only a historically important opera but a very good one at the same time (and that is all too often an oxymoron). It therefore deserves a somewhat better production than it gets on the ArtHaus Musik DVD recording (100 107) where Ingo Metzmacher conducts the Chorus and Orchestra of the Hamburgische Staatsoper. Opera, as all drama, should be about recognizably human beings. Putting them in a minimalist stage and forced to undergo nonsensical bits of staging of the "What can we do different this time?" genre reduces the drama to mere puppet theatre. To give but one instance, there is an admitted dramatic flaw in the libretto (put there at the insistence of the composer himself) that the Hermit who acts as deus ex machina does not appear until the very last scene. Here we have him (Simon Yang) as a member of the audience, throwing flowers to the two ladies on stage and singing his first words from audience level so that the stage manager has to appear to see what is going on. Very clever by half! The moment the characters are aware they are in an opera, how is the audience supposed to react to the human drama on stage? Or having the soprano (Charlotte Margiono) sing the first stanza of an aria facing a blank wall upstage? Or having the evil Samiel (actor Jorg-Michael Koerbl) recite the words to the Hunting Song as a party piece in front of the curtain before it is sung by the chorus on stage? Or by having a bright red elevator door to one side of the stage or a sexy violinist with the cutest horns accompany one of the maid's (Sabine Ritterbush) songs? All of this adds nothing to the opera and at best distracts from it. After all, this is the work that set the stage for German opera as its own art form and not a slave of the Italian models. It also began the Romantic German opera, what with its supernatural elements and the wonderful Wolf Glen scene that Gilbert & Sullivan so perfectly adapt in "The Sorcerer." The men manage to convince in spite of the director, Jorma Silvasti (Max) and Albert Dormen (Caspar) especially. Yes, I will recommend this DVD since it manages to be a good production when the actors are left alone to be human..
Rating:
Summary: Generally good but flawed production
Review: Weber's is not only a historically important opera but a very good one at the same time (and that is all too often an oxymoron). It therefore deserves a somewhat better production than it gets on the ArtHaus Musik DVD recording (100 107) where Ingo Metzmacher conducts the Chorus and Orchestra of the Hamburgische Staatsoper. Opera, as all drama, should be about recognizably human beings. Putting them in a minimalist stage and forced to undergo nonsensical bits of staging of the "What can we do different this time?" genre reduces the drama to mere puppet theatre. To give but one instance, there is an admitted dramatic flaw in the libretto (put there at the insistence of the composer himself) that the Hermit who acts as deus ex machina does not appear until the very last scene. Here we have him (Simon Yang) as a member of the audience, throwing flowers to the two ladies on stage and singing his first words from audience level so that the stage manager has to appear to see what is going on. Very clever by half! The moment the characters are aware they are in an opera, how is the audience supposed to react to the human drama on stage? Or having the soprano (Charlotte Margiono) sing the first stanza of an aria facing a blank wall upstage? Or having the evil Samiel (actor Jorg-Michael Koerbl) recite the words to the Hunting Song as a party piece in front of the curtain before it is sung by the chorus on stage? Or by having a bright red elevator door to one side of the stage or a sexy violinist with the cutest horns accompany one of the maid's (Sabine Ritterbush) songs? All of this adds nothing to the opera and at best distracts from it. After all, this is the work that set the stage for German opera as its own art form and not a slave of the Italian models. It also began the Romantic German opera, what with its supernatural elements and the wonderful Wolf Glen scene that Gilbert & Sullivan so perfectly adapt in "The Sorcerer." The men manage to convince in spite of the director, Jorma Silvasti (Max) and Albert Dormen (Caspar) especially. Yes, I will recommend this DVD since it manages to be a good production when the actors are left alone to be human..
<< 1 >>
|
