Rating: 
Summary: Very good, but not quite as good as it could have been
Review: I have been fortunate enough to see three live performances of "Porgy and Bess" as an opera: first the Houston Grand Opera production with Donnie Rae Albert and Clamma Dale around 20 years ago, then the Met production with Roberta Alexander around 10 years ago, and most recently Alvy Powell and Marquita Lister in Hartford 3 years or so ago. It's a great work, and richly deserves a production as lovingly prepared as this one. Let me first say the cast is superb. This is "Porgy and Bess" sung the way I'm conviced George Gershwin envisioned it, as an opera. There are, however, a few disappointing (to me) features of the production. To begin with, no goat! Porgy is a crippled beggar who transports himself by driving a goat cart. Here, he maneuvers himself around on makeshift crutches. In the final scene, therefore, he has to say "I must go" [after Bess] instead of the original devastating "Bring my goat." When he repeats "Bring my goat" the request becomes a command. Having him repeat "I must go" is not nearly as effective, since he's not asking anyone to do anything for him. When he does leave, it's without the crutches, as he hobbles off into a Hollywood fadeout. The reason for dropping his crutches escapes me. Also, Sportin' Life's "There's a Boat Leaving Soon for New York" ends with Bess slamming the door after entering the room she shares with Porgy. It leaves the false impression that she's resisted Sportin' Life's tempting offer. So it comes as a shock to us as well as Porgy when she's not around to welcome Porgy home. The Met staged this especially well, having Bess enter the room, then reach out to take the "happy dust" Sportin' Life leaves for her, finally slinking back out, one long bare leg first, having changed back into the tart outfit she wore at the beginning of the opera. Then there's the matter of the "Buzzard Song" -- why was it cut? It was cut at the first New York production, I know, but so was the Jasbo Brown piano solo, and that's here in a nicely done sleazy nightclub introductory scene. I also wish there had been subtitles -- although the work is sung in English, anyone with any experience listening to opera knows that the words do frequently get lost. Finally, there's the lip-synching problems mentioned by several prior reviewers. One last thing -- at least on the VCR I used to watch this, the orchestral sound was not forward enough. Opera is singing, yes, but the orchestra plays a vital role, and it needs to be heard, especially with the wonderful touches Gershwin has written into this masterpiece. I also thought Simon Rattle's conducting was, at times, a little flaccid. But with so much of value in this production, I still recommend it highly, as probably the only video production we're likely to have for some time.
Rating: 
Summary: Best available on video
Review: I'd give this 5 stars just for Willard White's performance! The cast is just top notch in this American Opera (my definition, anyway) as is the supporting cast and production. I like the fact that trained opera singers mixed with Broadway voices well and White and Baker are two well trained baritones capable of acting in the closeups. Cynthia Haymon was a most believable Bess and no, I didn't forget Price who was wonderful. Her version wasn't filmed that I know of. Price's CD also is recommended. Regarding this video,I agree with the assessments of other reviewers as to the merits of this cast and production and HIGHLY RECOMMEND this DVD version.
Rating:
Summary: THE FINEST
Review: George and Ira Gershwin wrote, in my opinion, the finest American opera of the last century. It is supremely melodic, intensely dramatic, provides at least eight first-rate roles for performers and (having seen the opera at least four other times in other productions) experiencing it, in this gorgeous Trevor Nunn production, is a treat I did not ever expect to see.First, the cast: Every single person in the huge company can sing and act. But special mention must go to Willard White (Porgy)-- a proud, strong, handsome man who projects his love and spirituality and his life as an outsider in his actions and wonderful baritone voice. Cynthia Haymon, is a gorgeous Bess. Her first scenes as Crown's drunk, addicted, whore/lover are performed beautifully--then her 'redemption' as Porgy's lover is wonderful to see and hear. Her lovely, strong soprano voice, her movements, her acting all change before our eyes. Gregg Baker is the perfect Crown. Not only is he a commanding singer, he is a commanding presence: big, powerfully built and extremely handsome. It is quite obvious how he could be both sexually exciting and absolutely frightening to Bess and all the other characters. Damon Evans is superb as Sporting Life the one character who depends more on acting than classical singing. This is not to say that Evans cannot sing. He does wonderfully with his two numbers which are, granted, more musical comedy-inspired than opera-inspired. And his acting could not possibly be bettered. The production by theatre-director Trevor Nunn ("Les Miserables," among countless others) is thoughtful and true to the creators' intentions. With his designers he has built a "Catfish Row" that is filled with heat, intensity, comedy, drama and, ultimately, tragedy. His staging of the orchestral prelude is the best, most interesting I've seen. The camera peeks into the lives of these ordinary people who depend on extremely hard work and few pleasures to exist. Several moments have stayed with me long after my first viewing: a first act fight in which Crown violently kills another character (Robbins)with a cotton hook, staged and filmed so realistically that one would think these were stunt people and not opera singers; performances by all of the few white people in the cast (Mr. Archdale & the Undertaker, for example) in which they do not 'talk down' to the African American characters (as I've seen in several other productions) but talk simply man to man; the way that the camera is tight on Bess's unbelieving face when Porgy silently (through the music) offers her his room to hide in when everyone else has turned her away; another close up: this time on Sporting Life watching the crippled Porgy summon the strength to kill Crown with his bare hands. And finally toward the end of the opera, when Sporting Life seduces Bess with drugs and his fantasy tale of what New York City will mean to her.
The London Philharmonic brilliantly led by Sir Simon Rattle is perfect in both the operatic and jazz sections. This is an altogether satisfying, majestic production both musically and dramatically. I have read almost all of the other reviews for this DVD and, honestly, do not understand the overwhelming longing to see the Otto Preminger movie. Poitier and Dandridge were not opera singers and the Gershwins wrote an OPERA. This means that the two title characters would have to be dubbed by other singers or, if they did their own singing (and I, honestly, have no idea if they did or didn't) they would have to compromise this extraordinary music. It is true that the syncing of lips and music is not always on target. This bothered me terribly at first, but then I found so much to love and admire about this production that it made little difference to me. HIGHLY RECOMMENDED.
Rating:
Summary: found the 1959 version of porgy & bess
Review: Its just like I remembered it! After years of search, I finally found the 1959 Version of Porgy and Bess and it was just as wonderful as I remember it as a child. Ask and I'll direct you to a copy - i'm on aol
Rating:
Summary: Porgy and Bess is an Opera
Review: ...This is a film (made for TV, I believe) adaptation of a very highly regarded Glyndebourne Festival production of Porgy and Bess from the late 1980s, which was revived in the early '90s. The cast acted their roles on a set at Shepperton Studios and, probably for acoustic reasons, lip-synched their roles to a dubbed version of the original EMI studio recording of the opera (which also, incidentally, received a very favorable critical response). Unfortunately, the dubbing was, perhaps unavoidably, obvious in places... Unlike the CD, however, it allows you to see as well as hear what is going on, complete with subtitles if you wish. And it does this on one single-sided disk, so you don't need to change disks three times to get through the whole opera. I sympathize with those who miss the Preminger movie, but I think it's really unfair to trash a production of the actual opera because you prefer the musical treatment to the operatic one. It's kind of like criticizing The Beatles "Sgt. Pepper's Lonely Heart's Club Band" because you'd rather watch Peter Frampton in the movie of the same name. ...
Rating:
Summary: Only ONE FLAW worth mentioning.
Review: This is an excellent production. The only significant problem was the lip syncing of the cast to their own voices. At least it wasn't someone else singing! Why this couldn't have been recorded properly for video production, I don't know. But if you can get past the out of sync problem, you'll enjoy this for the great music and performances. I too saw the Houston Grand Opera production and it set the standard of live opera of this wonderful work. I've performed the music and can tell you that "My Man's Gone" is as difficult as most Italian arias and the more you hear this music the better it gets. The cast is excellent and conducting just fine. Willard White is outstanding in any opera role he performs, including Porgy. Gregg Baker as Crown is magnificant and not heard in opera houses enough. This is one of the very few American operas we can be proud of. Opera is foremost about the music and the performances of that music and this meets the test. L. Price's CD of highlights is also highly recommended. Go ahead, ignore the bad lip syncing as it was the director's fault, not the cast; get this video for your collection. The VHS version is OK for sound. Don't know about DVD. Someone's idea of not recording the cast voices during performance was an unfortunate one due to the off sync, however, I recommend until a better one comes along.
Rating:
Summary: Porgy & Bess, with Sidney Poitier, Sammy Davis, Jr.
Review: Its been 25 years since I've seen the film, but the vision of Sammy Davis singing & dancing "It Ain't Necessarily So" is indelible in my mind. I would so much like to see that just one more time. All the music of Gershwin and the delivery of the songs is intoxicating. Dorothy Dandridge is outstanding, also as a singer and dancer. Poitier is once again his majestic self. Trevor Nunn is very talented, but I doubt the Englishman will capture Catfish Row as well as the motion picture did. How can I get hold of this video?
Rating: 
Summary: SHAME SHAME SHAME!!!!!!!!!
Review: The most dissappointing opera (film) I have ever seen. After waiting for so long for a proper version of this cornerstone of american music, to see the performers lip sync their way through a performance even though on tape, BARBARIC!! The sound quality was horrible as well. Do justice to the only true american opera and bring the cameras to New York City Opera, and see what Porgy and Bess should really sound. If I could get my money back on this shamefull production I would at the drop of a hat.
Rating:
Summary: I FINALLY FOUND THE 1959 VERSION
Review: After years of search, I finally found the 1959 Version of Porgy and Bess and it was just as wonderful as I remember it as a child. I was surprised that although it is a musical, it kept my attention and I loved it.
Rating:
Summary: This is madness.
Review: Porgy and Bess is an American Treasue. An opera written by George Gershwin, a brilliant composer of Popular Music in the 1930's. A landmark piece, much like his Rhapsody in Blue. There is an amazing book detailing the 1950's tour of the opera through Russia by Truman Capote. The movie that everybody seems to be so keen on is merely one, not-so-popular interpretation of this opera. Of course it would be nice to have that available as well, but the Preminger movie is not the ultimate interpretation of this work! His Carmen Jones may be the only version we will have in America in our lifetime since the brilliant British production didn't make it to our shores - but Porgy and Bess is being produced more and more, and I say, God Bless It! P&B is moving into the same arena where Tosca lives, and La Boheme and La Traviata. It is not a movie. What we have here is a fairly dazzling production of a classic work by some extremely talented artists who are giving us yet another intepretation of a brilliant American work of art. Porgy and Bess will go on for centuries, outliving not only all of us, but the Preminger movie as well. The work is a living and breathing work of art. It, like Hamlet, should be re-interpreted for every generation, not frozen in time like the 1950s movie. Get over it! Watch this production. Watch the next production. Grow with the new interpretations of this classic. And remember, Porgy and Bess existed and was a classic long before the movie was ever thought of.
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