Rating: 
Summary: Why isn't Pendatchanska at the Met????
Review: It's all been said in the raves above. Pendatchanska is thrilling. If you have the luck to be in NY in April, she will be at NYCO in ERMIONE.
Rating:
Summary: When 2 is more than enough to make 5
Review: My 5-star review is based on the two leads in this production. While the rest of the cast was adequate, these two lifted it to a high plane of achievement. Of course, the other star-performer, Donizetti, gets his accolades as ever for his rich and irresistable melodies.
The singing by Pendatchanska and Sabatini was beyond praise. Both rose to an occasion that I am thrilled to have had captured (since I wasn't in Naples that night). I cannot understand how one human can sing the queen without being scraped vocally raw by evening's end, but Pendatchanska finished this grueling role with panache and beauty of tone. Sabatini while not having as much demanded, sang with lyricism and heart -- something I have not always found in abundance in the past with him in live performance. Perhaps it was just me, because he certainly acquitted himself beautifully here.
This is a treasurable performance and will stay on my "5-star" shelf with the very few others that earn that rating from me.
Rating: 
Summary: No sé si es fonomímica
Review: Por favor, no puedo opinar porque antes debo comparar. Pero no encuentro la información que necesito para saber si se trata de una grabación en vivo (life recorder) or it is a film with voices not in real time. Please would you help me?? Ernesto
Rating:
Summary: A Teatro di San Carlo specialty
Review: Roberto Devereux is considered by some authorities the finest of Donizetti's tragic operas (I think that's a bit of a stretch - there is still Lucia, with more imaginative melodic invention). This is a very fine performance from the Teatro di San Carlo , where it was first staged in 1837 and first revived (with the Turkish diva Leyla Gencer - available on Opera Doro) in 1964.This may be a dress rehearsal since the auditorium is half empty (the premiere was on May 28 1998). Even though it means that there is less give and take with a responsive audience, the singers seem to benefit from the less oppressive presence of the Neapolitan operatic mob. There are no signs of anxiety, everyone warms up to their roles from the first note. Everyone, including the conductor and orchestra are in top shape and give their very best. (Old European opera houses are infested with gangs of homicidal tradition keepers: if a singer as much as misses one note, the conductor stops the performance, conducts a hasty requiem mass and the wretched singer is dispatched to his creator with a short, sharp shock, from a cheap and chippy chopper on a big black block. These frequent executions are part of an East European conspiracy to take over the opera houses of Europe, since they sustain the need for a constant supply of fresh talent from the east bloc). The camera crew takes advantage of the higher freedom of movement with sweeping movements that cover the orchestra pit (and occasionally the stage) almost side to side, with a very dynamic effect. This is the best camera work I've seen in any "live" opera production on a DVD so far (although it's not unusual on rock/pop videos). The picture quality is excellent, with vivid colors and well defined picture. The 5.1 Dolby surround sound is the best audio so far on any opera DVD: very focused, with a pleasing feel of "air" around the voices, that carries this hollowed auditorium's sonic signature. Bulgarian soprano Alexandrina Pendatchanska won the 1990 UNISA international singing competition in South Africa. She is Ghena Dimitrova's student and protégée, who is reported to have said on Bulgarian television that her student has a truly remarkable talent. A talent indeed she is. In the lyrical passages she has that young girl sound of the old Italian school - light, agile and plaintive. When she digs the spurs in the voice becomes strong and full, almost metallic and quite thrilling. Her superb Elisabetta is musically and dramatically almost overwhelming. She tears into the final scene with ferocity and real pathos. Her voice is expressing both strength and vulnerability in every phrase and the queen's physical decadence is laid devastatingly bare - an unforgettable performance. Giuseppe Sabbatini in the title role has a such a charismatic stage presence that it is little wonder that the queen almost loses her mind over him. His Devereux is the impetuous heart breaker as well as proudly aristocratic. He is a real artist and stylist and seems to be very well versed in 19th century stylistic practice. His medium-weight voice enables him to bring out the qualities of a bel canto tenor, as well as to project a more dramatic presence. (The historic Devereux, the 2nd earl of Essex was executed after he tried to organize a revolt against Elisabeth - nothing to do with a love triangle. He constantly provoked her - she put up with his impudence for years because he was her cousin. But she gradually grew alarmed of his behavior, finding him to be "a nature not to be ruled." During one of their disputes, Essex turned his back upon the queen, who promptly slapped his face. He organized the revolt after she confined him to house arrest, following an unsuccessful campaign in Ireland.) Italian lyric baritone Roberto Servile has a real personality and a wonderful voice. It is quite rare to hear such perfect diction and precise phrasing even from an Italian singer. I found his performance the most satisfying of this cast because of his unusual respect for the text, combined with his lyrical timbre and big voice that fills the auditorium with no hint of strain. His Duke is very convincing in his transformation from the loyal friend to the wronged, raging and vindictive husband. Hungarian soprano Ildikó Komlósi as his consort is more restrained than Pendatchanska in her singing and acting and thereby provides a musical-dramatic counterpoint. She sings Octavian on the Palermo Der Rosenkavalier DVD that is due to appear later this month. The success of the performance owes much to the sensitive conducting of Alain Guingal that sustains and inspires the singers rather than drowning them. The costumes and sets are gorgeous - all the elements of this production fit in perfectly and are very well thought out, from Komlósi's sad demeanor in the opening scene to the blazing red of Sabatini's costume. Roberto Devereux is scheduled to open this season at the NYC Opera with Lauren Flanigan as Elisabetta.
Rating:
Summary: Al dolce guidami
Review: The other reviewers of this DVD are very positive and I count myself among them. I was jumping out of my seat after a few minutes after starting to watch this. I am not going to go into a detailed description of it, because I feel that all the superlatives one can muster up in appreciation of this DVD cannot do it justice. I should mention that Pendatchanska does not have a 'beautiful' voice - what she does have is a thorough knowledge of characterisation and the proper attack and complete understanding of what Donizetti's Elisabetta is about - she does NOT disappoint. So if you expect the watered-down twitterings of a Gruberova or Sutherland, steer clear - this is a Sturm und Drang interpretation that few can equal: from the ringing acuti to the wispy filati to the chested declamations that can summon a graveyard to life. Although the supporting cast sing with conviction and truly beautifully well-supported voices, I feel that they do not quite reach Pendatchanska's dramatic commitment. Komlosi as the Sara is a sympathetic performer who should deserve more acclaim. Sabatini as Roberto looks and sounds the part, and then some more. Servile as the Duke also has a superb voice. Every aspect of this production has been lovingly thought about: costumes, staging and camera work are breathtaking - thumbs up to all those involved! The orchestra plays very thoughtfully and the conductor seems to be most interested and concerned with the singers needs. The indolence of the audience beats me. This production makes one want to see more opera - regardless of the composer or period. If you are interested in similar committed, thoughtful productions do give the ENO 'Xerxes', Pappano 'Don Carlos' and Covent Garden 'Mitridate' also available on DVD a go.
Rating:
Summary: fascinating production
Review: This is a live performance but there is not much noise from the audience. I guess the microphones were placed well. I hadn't heard of the singer who plays the role of the Queen Elisabeth, but, she is really exceptional. She has a rich voice and manages one of the hardest coloraturas with ease. And she looks the part, too. Her acting even reminded me of Bette Davis in The Private Life of Elisabeth and Essex. I hope to see her more. Giuseppe Sabbatini is my absolute favorite tenor today. He is perfect. At the curtain call, he looks around the audience and looks wondered, maybe because the theater was half empty. That explains also the reason why there wassn't much noise from the audience. All the other singers are the top notch. They look the parts and sing/act great. The decor is magnificient and the costumes are sumptuous.
The quality of video and the audio is sharp and crisp. One of the best opera DVDs along with Semiramide and Tristan & Isolde. Image Entertainment did a good job, again!
Rating:
Summary: A historical moment of Bel Canto
Review: What an exceptional opera recording... I will mention quickly the solid orchestra, a very capable director, magnificent costumes, the beautifully though classically designed set and the efficient stage direction that allows singers to focus on their performance without giving the impression that they are lost on the stage...to focus on the amazing cast of singers. Pendatchanska is superb in the appropriation of the role. the voice is wonderfully trained over its entire range. What amazes me is the way she colors it to express such violent and diverse emotions all along her performance. She incarnates Elisabeth and her conflicting torments, rage and despair by giving her voice an almost aggressive and edgy color which can even sound even disturbing for some 'over-sensitive' ears while managing to abide by all rules and standards of Bel Canto, by keeping her singing line composed and secure and her vibrato even throughout her vocal range...with truly amazing high notes... This being said, she really uses her instrument at 200% of its capacity...I am therefore wondering if this is a wise approach on a longer term. Let's enjoy the moment... Giuseppe Sabbatini...God, what an amazing tenor... a beautiful 'light' lyrico-spinto di agilita... I mean by that he has the spinto color and focus, extraordinary projection, stunning high notes, voice flexibility - including outstanding piani/ssimi - matching all demands of the role's high tessitura...who else currently has such an easy, free, ringing full 'chest'-voice high D natural???... His musicianship is simply phenomenal...no flaw in his technique...a very clever and sensitive interpreter... His aria+cabaletta scene in jail is a moment of pure vocal grace. Hearing his 'Nottingham', I understand why the baryton, Roberto Servile was 'sponsored' by Pavarotti. He is a charming, 'techniquewise' flawless singer of the traditional Italian school of singing with a warm lyrical baryton voice... He does not have a very varied palet of vocal colors to express but he delivers a solid performance. His acting skills - like Pavarotti to some extents :)- are average but sufficient enough here in this context. Ildiko Komlosi interprets a charming although sometimes unidimensional Sara with her delightful voice. She, like the other interpreters, also has the 'physique' of the role which contributes to the interest of her performance vocally very satisfactory. One negative remark though... Who gave valium to the audience prior to this performance...the 'polite and conventional' reaction to such a stunning performance at the curtain's fall is to me ridiculous... I dream of watching such opera performances every night... This DVD is a must-buy/watch/keep/rewatch and recommend...
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