Marketa Hrubesova - Lady Macbeth
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Marketa Hrubesova - Lady Macbeth
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Markéta Hrubesová
(Actor),
Galina Vishnevskaya
(Actor),
Petr Weigl
(Director, Writer)
&
0
more Rated: Unrated Format: VHS Tape
4.1 out of 5 stars
15 ratings
Parcel Dimensions
:
18.8 x 10.67 x 2.29 cm; 208.65 Grams Director
:
Petr Weigl Media Format
:
NTSC, Classical, Import Run time
:
1 hour and 40 minutes Release date
:
July 20 1999 Actors
:
Markéta Hrubesová, Galina Vishnevskaya, Michal Dlouhý, Nicolai Gedda, Petr Hanicinec Studio
:
Image Entertainment Producers
:
Evelyn Paulmann, Hans-Günther Herbertz ASIN
:
B00000JGE7 Writers
:
Alexander Preis, Dmitri Shostakovich, Nikolai Leskov, Petr Weigl
4.1 out of 5 stars
15 ratings
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I have been an unabashed fan of Petr Weigl even since I obtained his productions of "Eugene Onegin", "The Turn of the Screw", "A Village Romeo and Juliet" in VHS format (all, alas, delisted). Cinematic interpretations of operas are, I believe, another artistic approach to these works. Even the live performance recordings come close to this freedom with elaborate sets and camera play. Admittedly Weigl tends to abridge and perhaps offends the purists, but he does end up with a very tight production. (After all, even in live productions, cuts are often made -- sometimes for no greater reason than to avoid paying overtime. Opera is theatre and Weigl brings it all to life. His actors all look the part, can really act, and do more than lip-synch -- they sing on the set, although their voices are not used. Most importantly, he has a great sense of setting, costumes, and camera angles. Lady MacBeth of Mtsensk is a very vivid, emotional, opera. I understand that Shostakovitch planned it to be the first of three about the plight of Russian women through the ages. Unfortunately, Stalin had a hissy fit and Shostakovitch wrote no more operas. This production does great justice to the work. I cannot recommend it highly enough.
5.0 out of 5 stars
PLUS VRAI QUE LE DISQUE
Une merveille que ce dvd. L'image s'ajoute a la bande son de l'integrale de rostropovitch. Les interpretes sont plus vrais que nature , surtout le role de lady macbeth. Tres belle prise de son avec des paysages gorges de mystere.A achete sans hesitation.
5.0 out of 5 stars
Opera movie at its best
This is wonderful movie. Like all Weigl movies (I am aware of) but unlike most older "filmed" opera versions this one is shot outdoors, i.e. not entirely in a studio. A special point to note: Katerina (the main role) is beautiful (and you even get to see her (partially) nude!).
3.0 out of 5 stars
The satire doesn't bite, the sex stays out of sight
Arthaus Musik must think a large audience wants a PG-13 version of Shostakovich's Lady Macbeth of Mtsensk, issuing this Blu-ray from the Teatro del Maggio Musical Fiorentino only a couple of years after the blistering 2006 Amsterdam production
Lady MacBeth of Mtsensk [Blu-ray
]. To judge by a few reviews, some opera lovers are in fact glad to have a Lady Macbeth whose thermostat is turned down a few degrees. But if the sex and violence are taken out, what's left? Satire -- a trait whose presence in Lady Macbeth this Italian show seems blissfully unaware of. When the 29-year-old composer's second opera premiered in 1934, Shostakovich was already recognized as a master satirist. His first opera, The Nose (1928), was taken from the satirical story by Gogol (whose name is dropped in Lady Macbeth). Shostakovich's 1930 ballet The Golden Age centers on a Soviet soccer team that travels to a Western city to encounter characters and situations outlawed back in the USSR. His second ballet, The Bolt, revolves around shoddy, subversive work in a Soviet factory. Lady Macbeth's satire, though, was just a secondary reason the opera brought the fear of death down on Shostakovich's head. In two years, Lady Macbeth ran up a remarkable box office record. It received 83 sold-out performances in Moscow, nearly 100 in Leningrad. It was staged in New York, Cleveland, London, Stockholm, Zürich, Copenhagen, Argentina, Czechoslovakia. Tickets were in such demand that when Stalin went to the Bolshoi on Jan. 26, 1936, three Moscow productions were running simultaneously. Stalin didn't stay around to see the end, however. Furious, the butcher of millions who was a prude about sex stormed out, and two days later, an editorial appeared on Pravda's front page denouncing the opera and stigmatizing its composer as an Enemy of the People. For Shostakovich, the fun times were over. And Lady Macbeth was sent to Siberia. Watching Fiorentino's Lady Macbeth, you could fail to realize any satirical intentions are in play. One opportunity after another is missed, and the lack of bite in the too-polished orchestra doesn't help. Instead, the scenes meant to be satirical must be head-scratchers for an audience not familiar with the opera. For example, Shostakovich's version of the drunken porter in Shakespeare's Macbeth doesn't stagger in alone to relieve himself in the middle of the night. Instead, he is joined by a chorus line of peasants, who aren't drinking but are still having a gay old time. In this presentation, you'd have to know the joke beforehand to get it. Even if you do, it's a stretch here. Further, the chief of police is a (literally) moustache-twirling Keystone Cop cartoon who belongs in a farce, not a satire. Plus, the humor of the police apprehending a socialist who insists he does believe in God sails right past. As for the sex and violence hardwired into the score, the scene of Katerina's adultery with Sergei is demurely hidden behind a wall, and their murder of her husband when he returns from a business trip takes place out of the audience's line of sight. Wearing a white shirt, Sergei emerges from a lengthy whipping by Katerina's father-in-law without a spot of blood showing. Portraying the two lovers, Jeanne-Michèle Charbonnet and Sergej Kunaev lack the stage presence and vocal prowess of Eva-Maria Westbroek and Christopher Ventris in Amsterdam. Katerina's falling-off-the-boat suicide is so anticlimactic we hardly notice. The Italian production has its merits. Vladimir Vaneev reprises his dual role from Amsterdam as Boris the abusive but lecherous father-in-law and as the old convict whose monologue opens Act IV. As Boris, Vaneev makes a good villain and chews up the scenery as he's dying from Katerina's poisoned mushrooms. One noteworthy feature of the performance is that during some of the orchestral interludes, the floor of the pit rises to stage level, enabling the orchestra to assume its proper role as a character in the action. A nice touch, that. Because the opera is presented complete on one Blu-ray, there's no room for extras. But it is complete and in much better video and sound than the 2002 Barcelona DVD set
Shostakovich - Lady Macbeth of Mtsensk / Secunde, Ventris, Kotcherga, Vas, Clark, Nesterenko, Capelle, Anissimov, Barcelona Opera
. So for those who prefer not to see and hear raw humanity in all its ugliness and aspirations, this Fiorentino Lady Macbeth might serve its purpose. If you want the full monty, you'll have to go to Amsterdam.
5.0 out of 5 stars
Weigl is wonderful
I have been an unabashed fan of Petr Weigl even since I obtained his productions of "Eugene Onegin", "The Turn of the Screw", "A Village Romeo and Juliet" in VHS format (all, alas, delisted). Cinematic interpretations of operas are, I believe, another artistic approach to these works. Even the live performance recordings come close to this freedom with elaborate sets and camera play. Admittedly Weigl tends to abridge and perhaps offends the purists, but he does end up with a very tight production. (After all, even in live productions, cuts are often made -- sometimes for no greater reason than to avoid paying overtime. Opera is theatre and Weigl brings it all to life. His actors all look the part, can really act, and do more than lip-synch -- they sing on the set, although their voices are not used. Most importantly, he has a great sense of setting, costumes, and camera angles. Lady MacBeth of Mtsensk is a very vivid, emotional, opera. I understand that Shostakovitch planned it to be the first of three about the plight of Russian women through the ages. Unfortunately, Stalin had a hissy fit and Shostakovitch wrote no more operas. This production does great justice to the work. I cannot recommend it highly enough.
Despite a magnificent score by Shostakovich, and the completely astonishing performance of Galina Vishnevskaya -a neglected and under appreciated artist in the West- I find a number of problems with this film production. There likely exists no more beautiful opening to an opera than Shostakovich gives us in Lady Macbeth, and Petr Weigl manifests considerable aesthetic comprehension in the opening scene. A kind of inorganic approach sees things fall apart after that. The set designs are adequate, with subdued colors and textures throughout, but the ending fails excruciatingly, as other reviews have noted, and the overall effect suffers from one-dimensional acting. Vishnevskaya's singing is titanic from beginning to end, and hubby Rostropovich conducts like an ecstatic high priest of music. The major disappointment is Hrubesova as Katerina. She conveys little depth in her face and body, no fire, a blankness of temperament that fails to match the richness either of the score or of Vishnevskaya's mighty singing. Gedda's singing is transcendental, and the actor Dlouhy does better than Hrubesova, yet something's missing. For me, that something is always missing in filmed operas. It seems opera needs the artifice of the stage in order to succeed fully, no matter the opera. Efforts at filming Puccini's operas have consistently fallen short of what can be found in an opera house. The medium of film seems to offer a viable alternative to the theatrical experience of opera, but the two media have never seemed to coalesce in any meaningful way. There's no main menu at the beginning of this film. I've watched scores of operas on DVD and always found a subtitles option listed there. Luckily, a reader advised me to check the subtitle option on my DVD remote, rescuing me from a desperate ignorance of technology and an initial rant in this review about no subtitles. That being rectified, I doubt there will come along a recording of this score as fine as that made by these musicians, and suggest that anyone interested in Lady Macbeth go there, not to this film, for their sustenance. Weigl borders on soft [...], in itself not necessarily a violation of the original even with the cuts that are made, but the weakness of the actors' involvement diminished my enjoyment. I appreciated Weigl's Turn of the Screw, but find this film ineffective. Get the recording - it provides all you need to love this music forever. With EMI's beautiful recording, you'll find tremendous musicianship and an inextinguishable score enshrining one of the most enduring repudiations of totalitarianism you're likely ever to encounter.
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This opera in four acts by Dmitri Shostakovich is based on an original story by Nikolai S. Leskov written in 1865. The action takes place in Mtsensk immediately before the Revolution in October 1917. The Ismailov family are rich landowners and the household consists of Boris, who rules the house in a typically patriarchal manner, his weak son Zinovy, and Zinovy's wife Katerina. When Zinovy is away on business, Katherine starts an intense affair with the new farm hand Sergei which threatens their entire way of life in this powerful, passionate opera. This filmed opera by director Petr Weigl features the vocals of famed Russian soprano Galina Vishnevskaya as Katerina, a role written by Shostakovich expressly for her, and music conducted by her husband, Mstislav Rostropovich.
Dmitri Shostakovich, Stanislav Zindulka, Robert Tear, Petr Weigl, Galina Vishnevskaya, Dimiter Petkov, Markéta Hrubesová, Michal Dlouhý, Hans-Günther Herbertz, Eva Slosarova, Václav Neckár, Taru Valjakka, Petr Hanicinec, Werner Krenn, Evelyn Paulmann, Nicolai Gedda, Petr Hojda, Alexander Preis, Nikolai Leskov Dmitri Shostakovich, Stanislav Zindulka, Robert Tear, Petr Weigl, Galina Vishnevskaya, Dimiter Petkov, Markéta Hrubesová, Michal Dlouhý, Hans-Günther Herbertz, Eva Slosarova, Václav Neckár, Taru Valjakka, Petr Hanicinec, Werner Krenn, Evelyn Paulmann, Nicolai Gedda, Petr Hojda, Alexander Preis, Nikolai Leskov… See more
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(34350 ratings) 84% positive over the last 12 months
Markéta Hrubesová
(Actor),
Galina Vishnevskaya
(Actor),
Petr Weigl
(Director, Writer)
&
0
more Rated: NR (Not Rated) Format: DVD
4.1 out of 5 stars
15 ratings
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