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Rating: 
Summary: Eva Marton Is Captivating!!
Review: Eva Marton's voice is in fine form here. Yes, opera mavens, she does have a vibrato, which at the upper reaches of her voice, when sustained, would later turn into something like a wobble, but her voice is under control here and she commits a THRILLING vocal performance. She always sings with emotion and I believe she is a fine actress in this role and many others. As Gioconda, she tempers her feelings of betrayal and rejection with pathos and delivers a knockout in Act 4, starting with an unforgettable rendition of "Suicidio!" that's not to be missed.The mezzos who portray Laura Adorno and La Cieca are FANTASTIC!! These parts are usually not well sung and here it is a joy to hear them. Domingo is, well, he's the GREAT Domingo...and he does not disappoint here either. One might wish to see a bit more of the lyric qualities of a Pavarotti in the role of Enzo Grimaldi, but Domingo makes it his own and never looks back. Manuguerra is wonderfully devilish and vocally secure. He leaves one with an impression of having more of the bel-canto in him than this fellow-cast members, so he seems a bit out of place at times in this production. Nonetheless, he does a fine job and saves himself for the big moments. Kurt Rydl is probably the weakest link in the cast--he left me wishing for a deep, ripe basso voice for his role... The production is one of those quasi-historical looking sets that does not distract nor particularly add to the production and the conducting by Fischer is admirable. If you love this opera and have heard the Callas recordings, Arrangi-Lombardi, Milanov or Anita Cerquetti, you will probably enjoy this...Marton gives a full-force interpretation in the same vein as her predecessors. This has never been my FAVORITE opera, but this performance with Marton and Domingo makes it worth owning and enjoying again and again.
Rating:
Summary: Eva Marton Is Captivating!!
Review: Eva Marton's voice is in fine form here. Yes, opera mavens, she does have a vibrato, which at the upper reaches of her voice, when sustained, would later turn into something like a wobble, but her voice is under control here and she commits a THRILLING vocal performance. She always sings with emotion and I believe she is a fine actress in this role and many others. As Gioconda, she tempers her feelings of betrayal and rejection with pathos and delivers a knockout in Act 4, starting with an unforgettable rendition of "Suicidio!" that's not to be missed. The mezzos who portray Laura Adorno and La Cieca are FANTASTIC!! These parts are usually not well sung and here it is a joy to hear them. Domingo is, well, he's the GREAT Domingo...and he does not disappoint here either. One might wish to see a bit more of the lyric qualities of a Pavarotti in the role of Enzo Grimaldi, but Domingo makes it his own and never looks back. Manuguerra is wonderfully devilish and vocally secure. He leaves one with an impression of having more of the bel-canto in him than this fellow-cast members, so he seems a bit out of place at times in this production. Nonetheless, he does a fine job and saves himself for the big moments. Kurt Rydl is probably the weakest link in the cast--he left me wishing for a deep, ripe basso voice for his role... The production is one of those quasi-historical looking sets that does not distract nor particularly add to the production and the conducting by Fischer is admirable. If you love this opera and have heard the Callas recordings, Arrangi-Lombardi, Milanov or Anita Cerquetti, you will probably enjoy this...Marton gives a full-force interpretation in the same vein as her predecessors. This has never been my FAVORITE opera, but this performance with Marton and Domingo makes it worth owning and enjoying again and again.
Rating: 
Summary: No subtitles
Review: Fine performance, but be prepared to watch it in the original. The subtitles don't come on, no matter what you do. Manufacturer needs to recall and replace.
Rating:
Summary: Great opera, great singing
Review: I can't enlarge too much more on what others have said on a postive note. Every singer in this production gives a satisfying performance with Domingo, Marton, Manuguerra, and Rydl, being particularly fine (in that order). It's a great opera video.
Rating: 
Summary: Muy satisfactoria 'Gioconda'
Review: Son bien sabidas de quienes conozcan esta opera de Ponchielli las dificultades que provoca llevarla a escena con resultados de nivel debido a las multiples dificultades que encierra la partitura (son nescesarias 5 primeras figuras del canto, un numero importante de secundarios, coro adulto, coro infantil y una nutrida orquesta, ademas de 5 cambios de escena). En esta version de la Opera de Viena, las espectativas se cumplen de manera satisfactoria y el resultado final es un espectaculo de calidad indiscutible.
Comenzamos con La Gioconda que recrea EVA MARTON, que a una voz bella y bien controlada une un dramatismo y una identificacion con el papel totales que la convierten en una interprete ideal del personaje: eso si, mas verista que belcantista. Junto a ella, otro tanto de elogios se pueden decir sobre el Enzo Grimaldo de PLACIDO DOMINGO, pletorico de voz y siendo una vez mas el gran actor que ha sido siempre. El malvado, Barnaba, esta aqui interpretado por MATTEO MANUGUERRA, que (como Marton, en linea mas verista que belcantista) canta perfectamente su parte y construye un personaje creible.
Como Laura Adorno, la mezzosoprano LIOUDMILA SEMSCHUCK es menos interesante que los tres anteriores, aunque esta correcta. Lo mismo puede decirse del Alvise Boadero de KURT RYDL (quiza hubiera sido deseable un bajo mas profundo) y algo mejor que los dos anteriores La Cieca de MARGARITA LILOWA.
La Orquesta y el Coro titulares del teatro se muestran como unos conjuntos muy ductiles, de calidad, muy bien controlados desde el foso por un ADAM FISCHER que concierta con acierto a todo el conjunto sin mayores problemas.
La puesta en escena es tradicional, sencilla y agradable: algo que se agradece en los tiempos actuales (no olvidemos que estamos ante una filmacion de los ultimos 80s)
En resumen, destacable version de una opera que no se conoce lo suficiente y que encierra una gran belleza que merece ser desenterrada por todos los amantes del genero. No se la pierdan.
Rating:
Summary: A fine performance of consistently high quality.
Review: This is the only DVD so far of this rather neglected opera . Its neglect is perhaps because it is formidably difficult to perform requireing six top quality singers in all vocal ranges and to paraphrase Alan Blyth,the British public's abhorrance to a strong melodrama such as this. However, it is still very popular in the U.S. , Italy and as we see,in Vienna. British neither here nor there, this is a highly satisfying work
both musically and dramatically. Strong passion is the key word: here we have everything, love, hate,evil, jealousy,gratitude,betrayal you name it. Setting:the picturesque but decadent 16th century Venice with its palazzos, islands and dead canals ,the very stuff of Romanticism. The music is very melodic in the
tradition of the great Verdi of his middle period. There definite echoes of "Un Ballo in Maschera"
and even " Otello" , but Ponchielli's music is no copy,it is original and he points forward to a new generation of opera composers.We ,of course musn't forget the excellent libretto by "Tobio Gorrio" (Arrigo Boito),Verdi's librettist in Otello and Falstaff.
This is a very fine performance, dating back to 1986, with sumptious , resplendent décor and
beautiful costumes in the traditional manner, probably best suited for this opera, not to mention the Vienna Philharmonic in the orchestra pit.
For the title role one usually thinks of the great sopranos (Tebaldi,Callas,Caballe) who tackled this role with memorable success. It is a very difficult role, encompassing a great range of range and emotion and dramatic acting. Eva Marton, though does't quite measure up to the stars mentioned, still gives a very satisfying performance especially the "Suicidio" aria. She is also great in the duets and assembly scenes, has a wonderful stage presence and passionate acting ability, which carries through her singing.
For the tenor lead, Placido Domingo is beyond praise. We are fortunate to hear a young Domingo
with a beautiful, strong , youthful and Italianate voice, magnificent throughout. The aria "Cielo e il mar" rarely sounded better.
The supporting roles are also splendid. Fortunately, Ponchelli wrote a lot of wonderful music for them. Just to mention the magnificently inspired second act with the mezzo Ludmila Semtchuk in two duets, one after the other, her voice is clear, strong and inspired - worthy of her predecessor the
great Marilyn Horne in the role of Laura. The evil, conniving Barnaba gets the famous aria "O monumento! " where we hear echoes of Jago's "Credo" in Otello. The cheated husband,
Kurt Rydl is suitably brutal and ruthless, although at this time his voice was somewhat higher than it is now. ( I saw him recently in the role of Osmin where his voice was much deeper)
It is good to see a young Adam Fischer conducting the VPO. He has since became world famous
specially with his recording of the complete Haydn symphonies. Here we see a sensitive young man working hard to bring out all the beauty of this score. He is quite successful, although an Italian conductor, like Gardelli has sounded more effortless and flowing and genuine.
By the way the famous ballet, Dance of the Hours, is beautifully danced and a treat to the eye and ear. The DVD sound somewhat favours the singers, and this is not quite fair to Adam Fischer.
All in all, a highly recommendable DVD. One last thing: the shoddy presentation by IMAGE is
deplorable. We are given one sheet of chapter headings in italian, no translation, no mention of who sings. For the price, we pay this DVD is treated like third rate Hollywood movie. For this I deduct a star.
Rating:
Summary: A fine performance of consistently high quality.
Review: This is the only DVD so far of this rather neglected opera . Its neglect is perhaps because it is formidably difficult to perform requireing six top quality singers in all vocal ranges and to paraphrase Alan Blyth,the British public's abhorrance to a strong melodrama such as this. However, it is still very popular in the U.S. , Italy and as we see,in Vienna. British neither here nor there, this is a highly satisfying work
both musically and dramatically. Strong passion is the key word: here we have everything, love, hate,evil, jealousy,gratitude,betrayal you name it. Setting:the picturesque but decadent 16th century Venice with its palazzos, islands and dead canals ,the very stuff of Romanticism. The music is very melodic in the
tradition of the great Verdi of his middle period. There definite echoes of "Un Ballo in Maschera"
and even " Otello" , but Ponchielli's music is no copy,it is original and he points forward to a new generation of opera composers.We ,of course musn't forget the excellent libretto by "Tobio Gorrio" (Arrigo Boito),Verdi's librettist in Otello and Falstaff.
This is a very fine performance, dating back to 1986, with sumptious , resplendent décor and
beautiful costumes in the traditional manner, probably best suited for this opera, not to mention the Vienna Philharmonic in the orchestra pit.
For the title role one usually thinks of the great sopranos (Tebaldi,Callas,Caballe) who tackled this role with memorable success. It is a very difficult role, encompassing a great range of range and emotion and dramatic acting. Eva Marton, though does't quite measure up to the stars mentioned, still gives a very satisfying performance especially the "Suicidio" aria. She is also great in the duets and assembly scenes, has a wonderful stage presence and passionate acting ability, which carries through her singing.
For the tenor lead, Placido Domingo is beyond praise. We are fortunate to hear a young Domingo
with a beautiful, strong , youthful and Italianate voice, magnificent throughout. The aria "Cielo e il mar" rarely sounded better.
The supporting roles are also splendid. Fortunately, Ponchelli wrote a lot of wonderful music for them. Just to mention the magnificently inspired second act with the mezzo Ludmila Semtchuk in two duets, one after the other, her voice is clear, strong and inspired - worthy of her predecessor the
great Marilyn Horne in the role of Laura. The evil, conniving Barnaba gets the famous aria "O monumento! " where we hear echoes of Jago's "Credo" in Otello. The cheated husband,
Kurt Rydl is suitably brutal and ruthless, although at this time his voice was somewhat higher than it is now. ( I saw him recently in the role of Osmin where his voice was much deeper)
It is good to see a young Adam Fischer conducting the VPO. He has since became world famous
specially with his recording of the complete Haydn symphonies. Here we see a sensitive young man working hard to bring out all the beauty of this score. He is quite successful, although an Italian conductor, like Gardelli has sounded more effortless and flowing and genuine.
By the way the famous ballet, Dance of the Hours, is beautifully danced and a treat to the eye and ear. The DVD sound somewhat favours the singers, and this is not quite fair to Adam Fischer.
All in all, a highly recommendable DVD. One last thing: the shoddy presentation by IMAGE is
deplorable. We are given one sheet of chapter headings in italian, no translation, no mention of who sings. For the price, we pay this DVD is treated like third rate Hollywood movie. For this I deduct a star.
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