Peter Ilyich Tchaikovsky: Iolanta

Peter Ilyich Tchaikovsky: Iolanta

Amazon.com

Iolanta was Tchaikovskys final opera, a one-acter written to play on the same bill with The Nutcracker. It tells the story of a blind princess whose disability has been kept from her, and who learns of it along with the love that gives her the strength to overcome it. The composer personally preferred the opera to the ballet, but subsequent audiences have not agreed with his assessment, and Iolanta has languished in obscurity. There are dramatic reasons for that, but from a musical standpoint this score deserves to be heard. This recording is a part of the Gergiev/Kirov/Philips series of Russian operas, and a fine cast has been lavished on it, including the luscious-voiced soprano Galina Gorchakova in the title role, baritone Dmitri Hvorostovsky as Robert, to whom she has long been betrothed, and stentorian tenor Gegam Grigorian as the knight who falls in love with Iolanta and helps her gain the will to see. --Sarah Bryan Miller
Rate Points :4.0
Binding :Audio CD
Label :Philips
Manufacturer :Philips
MPN :442796
ProductGroup :Music
Studio :Philips
Publisher :Philips
UPC :028944279627
EAN :0028944279627
Price :$33.98USD
Lowest Price :$40.40USD
Customer ReviewsBlind Passion
Rating Point :4 Helpful Point :20
Not only a brilliantly creative mind, Tchaikovsky was the only Russian composer of his time with a formal musical education. Iolantas original woodwind treatments is one example of why the late Igor Stravinsky was so enamored with this composer. However, replacing traditional string accompaniment with woodwinds drove Rimsky-Korsakov to trash the piece in his memoirs. Nicolai went on to mention how much more favorably Iolanta was received over Tchaikovskys Nutcracker (So much for that critique!). Gustav Mahler tried to make a case for Iolanta to become regular opera repertory, but with little luck.

Iolanta is yet another buried Russian opera. However, Tchaikovsky simply didnt write a bad opera. The story about a blind princess learning to see through love was a deliberate choice of subject matter by the composer for this, his last, opera. The ironically symbolic connotations reflect Tchaikovskys own troubled love life. Once again, his brother Modest wrote the libretto. There has been some criticism of that writing. Just chalk the librettos limitations to the subject matter (medieval fairy tale) and the fact that the brothers were just coming off Pique Dame, possibly operas most original libretto (cant hit all of them out of the park). Still, the music is as powerful as any of Tchaikovskys operas and better than almost all the French operas (except Carmen) that influenced him.

The main cast requires ten very capable singers (another reason this isnt performed too often). And thats where the Philips Kirov series comes to the rescue. If youve purchased any of them before, youre probably getting familiar with some of the Kirovs cast. Galina Gorchakova (Pskovitjanka, Invisible City, Maid of Pskov) is wonderful and very moving as Iolanta, the blind princess. Gegam Grigorian (Prince Igor, Pique Dame) is remarkable as the love-struck count. Pulling it together is the silky bass sound of Sergei Alexashkin (Mazepa, Sadko, War and Peace) as King Rene. This recording is an easy listen. After the first few times, it becomes downright haunting. As for Iolanta, it will continue to gain ground over the next century. Buy it! Just base the purchase on blind faith.

Highly emotional performance of this fairytale
Rating Point :5 Helpful Point :16
Having listened to the CD as well as the same orchestra, chorus and director (but different singers except for King Ren) performing in the Amsterdam Concertgebouw I must say I have seldomly been in such high spirits after an opera. Its a highly moving story, although not historically accurate, more like a fairytale. This opera was performed together with "the Nutcracker" and at that first performance in 1981 was received better than "Nutcracker".Having listened to it with such delight it is only a pity that nowadays mainly Russian audiences have the pleasure still to see it performed live. The music is the strongest part here, which was intended by Tchaikowsky:he meant to give a deeper meaning to what was happening on the stage mainly by the music. It doesnt fail to deeply touch the listeners heart. It has lots of melodies that seem typically Russian to me, full of passion and these melodies keep haunting my imagination in a sense I hadnt thought anymore to be possible. The CD is a little expensive given the fact that it only lasts 96 minutes (just 24 for the second CD, why not put parts of "The Nutcracker" on it ?) but is well worth the buy. Like with me it may well change your whole preference for styles and languages in opera. The booklet has the Russian cyrillic, Russian transliteration, English, German and French texts, as well as an introduction in these languages and in Italian but no Italian text (remarkably).

A forgotten jewel
Rating Point :4 Helpful Point :2
This a an unusual production among Tchaicovskys operatic work. Lightful, full of symbolic lyricism, the pure melodies used thorough the play captivate any listener, along with the moving story.
This version isnt ideal just for one point (not minor): Gorchakovas voice is too dark and heavy for the part. Thus said, lets move on: Grigoriam is moving, passionate... just wonderful. All the rest of the singers are perfect. Gergiev misses some details in the score but all put together, he is a fine conductor. Tchaicovskys rare beautyful gem is worth to get this set.

A different Tchaikovsky experience, but fully worthwhile
Rating Point :4 Helpful Point :12
Anyone who is familiar with Tchaikovskys propensity for big emotional melodies will probably find "Iolanta" to be, initially, a little dry. It lacks the high voltage of "Pique Dame" and "Eugen Onegin" and is more intimate in scope. Having said that, this is still a worthwhile listen and evidnece that Tchaikovsky could do more than excite emotions. Certainly, Gergiev and his ensemble, notably Gorchakova and Hvorstovsky, make the best case for this opera. Id still probably prefer Tchaikovskys other operas, but this is a rewarding listen.

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Tchaikovsky Complete Songs 1

Tchaikovsky Complete Songs 1

Rate Points :4.0
Binding :Audio CD
Label :Naxos
Manufacturer :Naxos
ProductGroup :Music
Studio :Naxos
Publisher :Naxos
UPC :636943435724
EAN :0636943435724
Price :$8.99USD
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Eugene Onegin

Eugene Onegin

Rate Points :4.5
Binding :Audio CD
Label :Opera D'oro
Manufacturer :Opera D'oro
MPN :1197
ProductGroup :Music
Studio :Opera D'oro
Publisher :Opera D'oro
UPC :723723563026
EAN :0723723563026
Price :$13.98USD
Lowest Price :$7.49USD
Customer ReviewsJust short of perfection....
Rating Point :5 Helpful Point :3
The "just short" only refers to the studio instead of a live recording. I had been looking for something "new" to hear (Im priviledged to do nothing but hear or see opera every waking moment). Because I hadnt heard or seen Eugene Onegin for at least a year, I went for that, and this recording. So I was curious to see what others thought of it, and was not suprised, only very satisfied to know that its so well thought of. I think I bought this immediately it was released sometime in 2002 after all, just look at the cast

A great "Onegin"
Rating Point :5 Helpful Point :16
Previous Amazon reviewers have commented on the history of this recording and its performers. I have nothing to add to that.

I shall say only this. When you hear the opening words of the very first duet you will be impressed. With each succeeding number, you will raise your opinion until you realize that this is one of those amazingly rare performances in which everything is right. This "Eugene Onegin" is the true measure of the opera, and a worthy companion to the Schipa "Don Pasquale," the Gigli "Andrea Chenier" and the Callas "Tosca."

Eugene Onegin
Rating Point :2 Helpful Point :0
I think this particular recording is poor : the singers, the sound quality, the selection of excerpts....

Amazons service was fine !

Very good in ALL respects
Rating Point :5 Helpful Point :8
Those reviewers discussing the artistic merits of this great recording have pretty much said it all. As to the one reviewer taking serious issue with the sonic quality -- perhaps he got a bad copy or else Opera dOro has cleaned it up since then. My copy, just purchased, has extremely clean sound, a bit on the dry side, but overall satisfying. I totally agree that this is one of the gems in their catalogue.

Onegin Sings From Inside the Box
Rating Point :2 Helpful Point :1
If you have any concerns for audio fidelity, pass by this offering. Like the other Opera DOro discs I have purchased, this one suffers from wretched sound quality. It appears to have been recorded from vinyl lp to disc. While this can be done with reasonably good results, it has not happened in this case. The vocals sound uniformly constrained. The higher frequencies appear to roll off abruptly, which yields a dull character, as if playing from inside a box. If your stereo system is poor, you might not notice, maybe...

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Rimsky-Korsakov - Sadko / Vladimir Galouzine, Gegam Grigorian, Sergei Alexashkin, Larissa Diadkova, Nikolai Putilin, Valery Gergiev, Kirov Opera

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Rate Points :4.5
Binding :DVD
Label :Philips
Manufacturer :Philips
MPN :000661909
ProductGroup :DVD
Studio :Philips
Publisher :Philips
UPC :044007043998
EAN :0044007043998
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Customer ReviewsWhat Russian artists can do superbly
Rating Point :4 Helpful Point :3
Unknown to me, prior to seeing this DVD, I was overwhelmed by the all around quality of the production. Magnificent singing, stunning scenery and costumes beyone comparison. The leading voices were confident and right on key. And the chorus was pure glory. Only reason I didnt rate this five stars was my own lack of knowledge of other productions, live or recorded. Discovering Russian opera is a grand vocation following the downfall of the Berlin wall.

MAGIC
Rating Point :5 Helpful Point :3
This is a sumptuously staged live performance by the Kirov company from St Petersburg in 1994. It is basically Sadko as I like it, but I sense that I had better be careful in how I recommend it. I speak (and sing) no Russian, and I have never visited Russia. However I am accustomed to hearing Russian sung, and the effect of the singing here has a rather smoothed-over sense. Even the lavish and brilliant costumes and staging, although assertively Russian, have a certain suggestion of western professionalism about them, and I do not know what I should put this impression down to. Everything changes over time, and it may simply be that this is the new Russian way of doing things, particularly in the most westward-looking of Russian cities.

On the other hand Rimsky is looking outwards for his inspiration. He regales us with a concert from a Viking, an Indian trader and a merchant of Venice, none of whom are exactly essential to the plot. The plot takes as its starting-point a legend of Novgorod and a real person called Sadko, but it is a fairy-tale, not just multi-ethnic but taking place largely in the non-human kingdom under the great international sea. Under the circumstances Im not inclined to labour the issue of Russianness. Nor am I much worried by the question how this libretto relates to contemporary ideas of opera as practised by Wagner or Verdi. Rimsky tells us explicitly that he is turning his back on any theory of opera that gives primacy to dramatic action or development. For him, it is all about making music. For me, Sadko is an upmarket pantomime, a musical pageant on stage. If I may risk the expression, Rimsky makes a song and dance of it all. The choruses at the start are longer than would be needed from a dramatic point of view, and that is because the composer is more concerned with writing choruses. The deus ex machina called The Pilgrim who ends the revels of the sea-king and his court does so in a lengthy aria because the composer wishes to write a lengthy aria. The overseas visitors put on a concert of stylised solos in the interests of musical variety, not of the overall story. The whole thing stands in much the same relation to music-drama as ballet does, and there is a great deal of Terpsichore and light fantastic on top of the musical entertainment that is really what it is all about. Rimsky himself tells us what to expect, Sadko seems to me to have perfect integrity on its own terms, and this performance seems to me to get it about right.

The cast are unfamiliar to me, but with one partial exception I like their work. Vladimir Galusin as Sadko is easy on the ear (and not a bad actor), and he does not attempt a heroic style. Nor does Gergiev more generally. This is a relaxed performance, and at a musical entertainment I expect to be invited to relax. If it does not seem ungallant to say so, the only problem I have with the singing concerns Valentina Tsidipova as Sadkos temporary undersea wife, the sea-princess Volkhova. In vocal quality she does not compare well with his real human wife Marianna Tarassova, but she largely makes up for that with the touching and affecting account she gives of her final lullaby-farewell to Sadko. Otherwise the cast in general, chorus as well as principals, suit me just fine. Character-delineation is not the name of the game and they do not have to be assessed on that score. The voices are right for their respective roles, and they convey the sense of enjoyment that I look for in this opera.

My rarely-used DVD player is hooked up to my television at the moment, and the speakers, though perfectly adequate, are not to the standard of those on my Sony hi-fi set. Nevertheless I caught the effect of Rimskys exquisite orchestral writing, described by Tovey as the purest since Mozart himself, quite well. The swans make their entrance to generalised sea-bird calls, which I dont think is a noise swans make, but it is so artistic and beautiful that Im not bothered by that, and even on my B-speakers the effect is delightful. The production is quite a feast for the eye. The costumes are magnificent, and I must say the cast in general are extremely good-looking. Sadko is shorter in stature than his undersea wife, but standing 56" myself I can forgive that. The first entrance of the sea-king is a perfect pantomime effect, and the final apotheosis of poor Volkhova is very adeptly achieved. The choreography is jaw-droppingly brilliant at times. I suppose the high spot of that should be the increasingly frenzied dance of the undersea courtiers, but I have to admit that the co-ordinated arm-movements of the bevy of Indian lovelies had me whooping with delight and this short episode is likely to ensure more frequent use of my DVD equipment in future.

At the end the entire huge cast, plus the conductor, take a collective and richly deserved envoi. There had just been 3 hours of Sadko, but for one spectator at least it had been over in no time. To go with the disc there is a good liner-note from the distinguished critic Robert Layton, providing the quotes from the composer that should assist in our understanding of what he is about here. The full libretto is not supplied, but Layton also provides a summary of the action that is all that I for one was after. Read it once and you will have everything you need before sitting back and enjoying the sound and the spectacle.

It has Chinese subtitle!
Rating Point :5 Helpful Point :1
The Chinese subtitle is very helpful and even better it is in traditional Chinese!

Not only the music the stages, costumes and dances are great. The full opera is very heavy on chorous.

This is the first time I heard the singing of "Song of India". Not many tenor records on the singing of this beautiful song. May be it is in Russian.

A spellbinding production
Rating Point :5 Helpful Point :0
This is one of those occasions when everything comes together, (which to me is a hallmark of this opera company.) Perfect tiptop cast, fabulous costumes and scenery and a master at the podium (no need of anything but his hands.) I love this company and recommend this production as a perfect example of Russian opera at its best.

BREATHTAKING.
Rating Point :5 Helpful Point :0
I BOUGHT THIS DVD LAST YEAR 2007 AND NEVER TIRE OF VIEWING IT.ITS A PITY THE SPORT OBSESSED BBC NEVER PUTS ANYTHING LIKE THIS INTO ITS SCHEDULES.NOT LESS THAN A QUARTER OF THE LICENSE SHOULD BE TAKEN AWAY FROM THOMPSON AN CO AND GIVEN TO CH4 AND CH5 SO THEY COULD IMPROVE THE OUTPUT OF THESE CHANNELS WHICH AT PRESENT ARE ABYSMAL.

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Verdi - Giovanna D'Arco / Susan Dunn, Vincenzo La Scola, Renato Bruson, Pietro Spagnoli, Riccardo Chailly, Bologna Opera

Verdi - Giovanna dArco / Susan Dunn, Vincenzo La Scola, Renato Bruson, Pietro Spagnoli, Riccardo Chailly, Bologna Opera

Description

Stage and television director Werner Herzog, one of the most highly acclaimed German film makers of all time, joins forces with the great Italian conductor Riccardo Chailly to effect a masterful rendition of this rarely-performed opera involving spectacular scenes of alternating light and dark, pageantry and intimacy. The production is further complemented by the great Italian baritone Renato Bruson as Giacomo, the American soprano Susan Dunn as Giovanna and the outstanding tenor Vincenzo La Scola as the Dauphin. The magnificent Teatro Comunale di Bologna provides an intimate yet ornate setting for this production of Verdis seventh opera, the story of the Maid of Orleans. "Certainly the success of this production is due to Herzog a marvellous and extraordinary production" CORRIERE DELLA SERA. Teatro Comunale di Bologna. Giacomo: Renato Bruson. Giovanna DArco: Susan Dunn. Carlo VII: Vincenzo La Scola. Delil: Pierre Lefebvre. Talbot: Pietro Spagnoli. Orchestra And Chorus Of The Teatro Comunale Di Bologna Conductor Riccardo Chailly. Program language: Italian. Subtitles in English / French / German / Italian / Portuguese / Spanish / Japanese.
Rate Points :4.0
Binding :DVD
Label :Kultur Video
Manufacturer :Kultur Video
ProductGroup :DVD
Studio :Kultur Video
Publisher :Kultur Video
UPC :032031404397
EAN :0032031404397
Price :$29.99USD
Lowest Price :$11.99USD
Customer ReviewsA very good performance of a rarely heard opera
Rating Point :4 Helpful Point :12
Although Giovanna darco is not one of Verdis best operas, it is very enjoyable, especially for opera lovers who want to go beyond the standard operas we hear all the time. This was very well performed and recorded. My only real complaint is that it did not have a synopsis of the opera. For a little known opera such as this, a synopsis would be very helpful for following the story.

Very good singing
Rating Point :4 Helpful Point :11
This opera doesnt have a lot of action but it does have great tunes - one after another, and this makes a nice audio recording to listen to over and over. Susan Dunn is an exceptional soprano with a beautiful, powerful, flexible voice - what more could one ask for? Vincenzo La Scola is a good silvery-toned tenor with reliable high notes. Brusons singing is touching as always. Dunn and La Scola are more of your stand and deliver-type singers - not great actors, so with the lack of action in the opera, I do not give the video a full five stars.

Great music, bad libretto, oft-adequate production...
Rating Point :4 Helpful Point :2
As far as the opera, which was new to me, goes, I loved the music, as I
typically do with Verdi, as its very much in his distinctive
alternately bouncy and dark style, but its the epitome of bad libretti
(Temistocle Solfera) to the extent that Giacomo DArco does the
play-by-play of his daughters battles, which we never see (which
doesnt work for exactly the same reason Violetta telling us about
Alfredo and Douphols duel does), and rather than being burned (which
one especially expects, since she wears the underwear-looking garb that
Brunnhilde wears after the armor comes off to the finale of the Ring
cycle where she burns) she is killed in action, but of course, she
wakes up long enough to sing a final aria. Its pretty static, but it
gets better as it goes along. The story is not what we would really
expect it to be, although we have Giovanna and her voices, and we have
her father Giacomo who is convinced that he voices are evil, much of
what appears on stage is Charles V trying to romance Giovanna, and when
that fails, still singing her praises as a warrior and the greatest
hero of France.

It kind of surprises me that the quote on the box credits Werner Herzog
for the "success" of this production. Its only a couple of steps above
Jonathan Millers Clemenza di Tito for being static and uneventful, and
for all Werner Herzogs criticisms about "inadequate images" in our
society (of which an Egg McMuffin advertisement seems to be his
favorite example), strong images are few and far between, though the
very last one is indeed amazing. Herzog comes out for the curtain call,
but evidently he didnt really want people to see him, since it cuts
away to a long shot as soon as he emerges, but I know well what he
looks like and recognized him instantly.

I think its actually Susan Dunn as Giovanna who carries the
production,--she always seems to be in her situation, while Vincenzo de
Scola as Charles V is all about his glorious voice and isnt much of an
actor.

The costuming has the chorus in tall and colorful masks full of
pageantry but looking rather druidic, except for a whole mass of
choristers in yellow masks and green who look like homages to Iron
Fist, a lesser-known Marvel superhero. Although the removal of armor is
an important image in the opera, we never see Giovanna put on or take
off any armor, and she wears the nightgown-like costume and socks
throughout, and the armor involves other characters.

Herzog first involved opera in his films with _Fitzcarraldo_ (which is
about a guy who goes into the rubber business to build an opera house
in the Amazon and try to attract Caruso to it), and there he hired a
supposed expert to stage the opera at the beginning, and it is more
over the top than any opera Ive ever seen either live or on video
(maybe because thats how they performed them in 1906, but he cast a
man in drag as Sarah Bernhardt and has characters complaining that she
is an actor not a singer cast in the opera for commercial reasons, even
though according to the credits, were hearing actual recordings of her
singing, which sounds fine to me). Ive been told that the Met wrote a
speaking part for Bea Arthur in _Daughter of the Regiment_ for
commercial reasons, by the way. I wouldnt think she would be that big
a draw, but whatever. Perhaps this paragraph is too much of a
digression, but Herzog fans may well be disappointed. While it doesnt
look ridiculous the way the operas at the beginning and end of
_Fitzcarraldo_ look, aside from a few frissons, particularly at the
end, and the stage littered with corpses even in romantic moments (one
blinks, while some look sculptural), there is little here that Herzog
fans will find particularly interesting. Indeed, _Invincible_ is more
characteristically Herzog than this.

The worst part of all is that I was constantly taken out of it by the
LPCM stereo, which is not in sync with the visuals--a Hollywood musical
with a canned soundtrack has better lip sync than this stage production
(and I watched Brigadoon last week, so I have a recent comparison--I
also saw the TV version of Gypsy 2 weeks ago and it looked and sounded
like the singing was done live on set). This is also a problem on the
Mets Ring Cycle DVD (particularly ludicrous at the beginning of
Siegfried when Mime hits the anvil and the sound is completely
dissociated), but that gives you a Dolby alternative that is in sync
with the visuals. With this one, youre stuck with it. Im going to
post on my film lists to see if thats an equipment issue.

Despite the interest of Herzog as director, I think Im going to go
with an audio-only recording next time I want to experience this opera.
While it seems to have potential for exciting staging (though given
Giacomos big aria in Act III it might be somewhat redundant based on
the text), Herzog was probably just too new to opera (indeed, he
co-directed both the stage production and the video) to really
contribute as much to it as he may have liked, or at least as much as
his fans would have liked.

All the ingredients, but...
Rating Point :4 Helpful Point :4
This performance has everything going for it. Vincenzo La Scola is a fine tenor, Renato Bruson is always reliable, and Susan Dunn was being heralded as the next great soprano. As for Verdi, this may be second rate Verdi, but there is some gorgeous music here. The men do fine, but theres a hole in the middle where Givanna should be. Susan Dunn had a beautiful voice of the right weight for this role, and she certainly has the range for it (the tessitura for this role is fairly high). But while theres nothing wrong with her two big arias, "Sempre alalba" and "O, Fatidica Foreste", compare her performances of them with Tebaldis and Caballes, both of whom can be heard on disc in this, and whats missing is Verdis slancio. Theres no drive, no inherent drama in her performance. Its lovely, but inert. The duets, including a couple of Verdis father/daughter duets, and the ensembles fair better. Werner Herzogs direction is traditional. The one great moment theatrically is the final scene as Giovanna dies. It was thrilling.

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Camille Saint-Saens - Henry VIII / Rouillon, Command, Vignon, Orchestre Lyrique Franais, Guingal (Thtre Imprial de Compigne, 1991)

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Saint-Sans most successful opera, after Samson et Dalila, centers on the period of Henrys life where his political ambitions and his defiance of Rome intertwine with his rejection of Catherine of Aragon and his marriage to Anne Boleyn. Saint-Sans score makes a strong impression, especially in the jealous confrontations between the two queens. Noted director and producer Pierre Jourdan has been staging opera since 1968. In 1988, he founded the Thtre Franais de la Musique and the association Pour le Thtre Imprial in the Thtre Imprial de Compigne. Every year, he directs and produces different lyric works with the mission to rediscover the French musical and lyrical repertoire from the post-baroque to today and to restore an authentic French style to the singers and the orchestras which accompany them. These productions have been triumphantly welcomed by the public and critics alike.
Rate Points :5.0
Binding :DVD
Label :Kultur Video
Manufacturer :Kultur Video
ProductGroup :DVD
Studio :Kultur Video
Publisher :Kultur Video
UPC :032031401594
EAN :9780769779850
Price :$29.99USD
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Customer ReviewsFive Stars for Henry VIII
Rating Point :5 Helpful Point :14
As a dedicated Puccini opera buff, I found myself overwhelmed by this powerful, colorful and soulful Saint-Saens Henry VIII. The broadcast wont let go. Having watched it on television several times, I have yet to tire of it, and recommend it highly to anyone who wants to broaden his or her scope of how well less well known opera can stand up to the competition. Bravo!

French Opera at its best
Rating Point :5 Helpful Point :36
Henry Vll - Saint-Sans: I have had the CDs of this opera for some time now from the same production, and I was elated when I saw it had been released on DVD. Having viewed it, my opinion of this under-produced opera has strengthened. It is well cast and the settings and costumes are sumptuous to say the least. Philippe ROUILLON is a formidable Henry, in fact one could be forgiven for confusing him with the real Henry. Michle COMMAND gives a commanding performance as Catherine of Aragon (if youll pardon the pun). Her rendition of " ta bont souveraine," from Act lll, just about brought the house down.
Lucile VIGNONs light Mezzo voice gives Anne Bolyn just the right weight. Alain GABRIEL as Don Gomez has a nice light tenor voice, however a little under-powered for what the role demands. I dont know whether it was the positioning of the microphones or what, but in the ensembles the soloists tended to get lost. One really had to strain to pick them out. The production was first rate and the sound over-all was excellent even if it was only in 2 channel stereo. Permanent English subtitles to follow the plot.
The End credits and encores went nearly as long as the opera. This is a generous DVD with a total playing time of just over 200 minutes. My only gripe with Kultur DVDs is the limited information you get with them. Only a slick with the tracks on it, but, I suppose we should be grateful for that. Lets hope that this will start a revival of Henry Vllls in our opera houses. If you are seriously into French Opera, bye it, you wont be disappointed.

Outstanding production
Rating Point :5 Helpful Point :14
This is an outstanding production that I seriously recommend. Saint Sains wrote many operas that are totally neglected today. Many of them had historical themes and were completelly out of fashion when Wagners "fantasy operas" ruled the opera world. Lets hope we will heare more of this brilliant composers neglected operas!

An excellent performance of a rarely heard opera
Rating Point :5 Helpful Point :14
This is an opera I had never heard before with a cast I had not heard of, so I didnt konw what to expect. I purchased it because I was interested in seeing a Saint-Saens opera other than Samson & Delila, which is the only Saint-Saens opera that I am familiar with. I was very pleasantly surprised by this DVD.

This is a conventially staged opera with very good scenery & costume and excellent singing and conducting. Although it doesnt contain any well known arias, it is very melodic throughout. If you are looking for a less well known opera to add to your collection, I would highly recommend this DVD.

My only complaint is the lack of information (no synopsis of the story, etc.)in the one page booklet that comes with the DVD, although the (English only) sub-titles help in following the action.

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Tchaikovsky - Mazeppa / Putilin, Aleksashkin, Diadkova, Loskutova, Lutsiuk, Gergiev, Kirov Opera

Tchaikovsky - Mazeppa / Putilin, Aleksashkin, Diadkova, Loskutova, Lutsiuk, Gergiev, Kirov Opera

Rate Points :4.5
Binding :DVD
Label :Philips
Manufacturer :Philips
MPN :000221309
ProductGroup :DVD
Studio :Philips
Publisher :Philips
UPC :044007419496
EAN :0044007419496
Price :$29.98USD
Lowest Price :$18.11USD
Customer ReviewsA spotless performance of a superior opera
Rating Point :5 Helpful Point :18
Before this recording came out, I had heard about this opera. Its story seemed very capable of providing great musical moments. When I saw this dvd at my local store, I knew I was going to buy it. I bought it, and I definitely dont regret my decision.

Regarding the recording itself, all I have to say about it is that it is of great quality. The image is crisp, the DTS 5.1 sound perfect. The singing was top notch (and thats an euphemism). I personally didnt find Loskutova too old for her role. Aside from a few moments in the second act, she looked the part quite well (her mad scene was also quite convincing). The one singing Andre, however, couldve demonstrated a little bit more passion. The staging is realistic, complex, and captivates the eye as youd expect a kirov production.

This opera was composed a little after Tchaikovskys major operatic masterpiece "Eugene Onegin". You can easily recognize at some points the similarities between both works, even though they treat very different subjects (Eugene Onegin is very intimistic, whereas Mazeppa is a dramatic "grand opera", like Meyerbeers "Les Huguenots"). One little gripe I have about this work of art is that since it lasts quite longer than Eugene (almost 3 hours), you dont always find the sweeping melodies that make Tchaikovskys music what it is in some scenes. The first act, quite frankly, lacked vitality at some points. However, from the start of act 2 to the end of the opera, it just gets better and better. Kochubey and Iskras last prayer before the execution at the end of the second act was so moving that I couldnt help crying (and I need to be moved big time to actually cry at such things). If you believe in God (and even if you dont), youre bound to react to it just like me. This duet is definitely something worthy of the composer of the "Pathtique" symphony, and a good enough reason to buy this dvd (as is the gripping third act).

To make a long story short, get this opera. Unless youre on the brink of bankruptcy or truly hate Tchaikovsky and russian opera, get it. You have no other excuse for not buying it!!!

A Restored Gem!
Rating Point :5 Helpful Point :3
Mazeppa is truly a great find. It is yet another restored Russian gem given new brilliance by conductor Valery Gergiev and the Kirov. I had only been familiar with Tchaikovskys "Eugene Onegin" and "Queen of Spades" in various productions and came to cherish each as great opera. The only other of his operas I had seen was "Maid of Orleans" which was not as sucessful as the others. So I thought Mazzeppa would be another "ho-hum" of historical interest and no more. What a surprise! This is a majestic epic of the wild times in Russian history and the legendary hero of Ukrainian history. It is full of drama, blood and thunder that would be found in the later Prince Igor, Boris and Khovanshchina. The orchestration of Mazeppa is grand and lush as youd expect from the master symphonist, the characters are well drawn and develop. There is even a "mad scene" a la Donizetti-Bellini Italian school. This is a true gem with wonderful music for the ear and grand drama for the eye.

A HIDDEN GEM
Rating Point :5 Helpful Point :17
MAZEPPA by Pyotr ILyich Tchaikovsky now out on DVD is a real find and treat. This 1996 performance by the Kirov Opera at the Marinsky Theater is a near perfect production in the traditional mode. The singing is excellent and the score begs for more then one hearing. I watched it twice the same day when my DVD copy arrived in the mail. Ive also already purchased my ticket to see the Metropolitan Opera production of this seldom performed work during its 2005-06 season. Conductor Valery Gergiev once again proves his command of Russian opera and he keeps the proceedings moving swiftly without a baton in his hand. His orchestra is first rate! Of the singers, I would single out Larissa Diadkova as Lybov, the wife and Nokolai Putilin as Mazeppa. With colorful costumes, a first rate dance scene in act one and fantastic sound by the engineers of EuroArts, you cant go wrong buying this DVD. I could have done without the Marinsky Marching Band that opens the last act, but I quibble. You will fall in love with this music at first hearing. Move over PIQUE DAME, BORIS and EUGENE. Here comes MAZEPPA !! BUY THIS ONE!

Mazeppa by Tchaikovsky
Rating Point :4 Helpful Point :1
I was quite surprised by the interest I had while watching Mazeppa. I have read in many reviews that Mazeppa was a lesser Tchaikovsky opera. I certainly enjoyed it and without going into all kinds of detail, I would recommend to all of this composers fans that they buy Mazeppa and see (and hear) for themselves how good it really is. The sound and colors, clarity, etc. are all first rate.

Excellent production of rare gem!
Rating Point :4 Helpful Point :5
This Kirov production from 1996 is aces all the way. The production itself is just outstanding- perhaps the best of any opera on dvd. The large staging, gigantic Russian choruses (always a plus), superb costumes, and incredible orchestra, make this a pure visual treat. And the filming (by Brian Large) is perfect with INCREDIBLE SOUND! The singers, especially Nikolai Putilin as Mazeppa, are excellent.

The opera is the dramatic story of the elder Hetman (chieftain) Mazeppa seeking to marry his friends very young daughter (with her consent- she loves him) to which his friend vigorously protests. The friend then betrays Mazeppa to Tsar Peter (offstage) which backfires into his being jailed and turned over to Mazeppa for torture and execution (unknown to the daughter). When her mother informs her of her fathers impending execution by Mazeppa, they try to stop the execution (also offstage, thankfully) but arrive too late (in a very dramatic scene). She faints, goes mad, and the opera ends in an extended mad scene for her (very common in 19th century opera). Although this summary doesnt really do it justice, the opera is quite dramatic and emotional.

It is the music that gives me a slight hesitation, and only 4 stars. I love Tchaikovsky, and his Russian sturm und drang music, but this isnt nearly as tuneful as "Eugene Onegin"- but more dramatic, and better theater. So you takes your choice.

One final word, and aside about the subtitles- a pet peeve of mine. This production makes EXCELLENT use of subtitles as I will detail below, MUCH better than most opera dvds on the market. Here, they get several things right: 1) good English and not idiosyncratic (no modern expressions or slang) 2) proper spelling (you wouldnt believe the bad spelling on other dvds) 3) subtitle right in line with the sung text- not too early or late. So, this is a big plus.

I strongly recommend this dvd as a great production of a fine dramatic Russian opera. It will bear many re-playings.

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The Red Violin

The Red Violin

Amazon.com

Mounted in high lavish style, from the opening strains to coda, The Red Violin pays homage to the careful uses of color and composition without bothering to support these qualities with any real substance. Oh, its a class act on the surface all the way, while failing on nearly every other level to convince. The story tells the story, revealing precious little else. The 17th-century Cremonese instrument-maker Niccolo Bussotti finishes his final violin with a curious red varnish, the secret of which spans the film, yet will come as a surprise only to the very sleepy. The odd voyage of this unique violin through history is then explored from one episode to the next, from child prodigy to gypsies to Victorian virtuoso to a clandestine enclave of art lovers in Shanghai during the Cultural Revolution. This is all framed by the violins rediscovery in present day by instrument appraiser Charles Morritz (SamuelL. Jackson), for whom the perfect instrument strikes a resonant chord. The main scheme of the film, an object connecting a number of seemingly disparate stories, has been used many times, most notably in Max Ophulss La Ronde. But while this approach is employed elsewhere to cause one scene to reverberate against another, The Red Violin is content to leave each episode thematically unconnected with any of the others. On the decorative level, the film may satisfy many viewers with its sensuous attention to tone and detail, as well as its eclectic and expertly performed score. But as narrative it is very slight. Just pierce the pretty crust of this puff pastry and gaze in wonder at the pocket of air within. --Jim Gay

Product Description

Studio: Lions Gate Home Ent. Release Date: 05/20/2003 Run time: 132 minutes Rating: R
Rate Points :4.5
Binding :DVD
Brand :Lions Gate
Label :Lions Gate
Manufacturer :Lions Gate
MPN :VMMD8312D
ProductGroup :DVD
Studio :Lions Gate
Publisher :Lions Gate
UPC :031398831228
EAN :9781588177650
Price :$14.98USD
Lowest Price :$7.29USD
Customer ReviewsSave your MONEY!
Rating Point :2 Helpful Point :0
What a borefest! The story comes together in the last few minutes after following the history of the red violin. Wow, it was terrible! I wish I could get that time I watched the DVD back! Dont waste your money, get it at the library first if you really want to see this one. Its a miss in a huge way.

The Red Violin
Rating Point :5 Helpful Point :0


The movie shows the love between a man and women. How the mans life was was going to change with the birth of a child to happiness and fulfillment but then tragedy strikes and this mans joy turned to sorrow and lonliness. His wife has died in childbirth along with their child. Yet this man saw how he could keep part of his wife with him as he crafted a most perfect violin and painted it with his dead wifes blood. Many years later this very valuable instrument was owned and played by others but then ended up at an aution to be sold for thousands of dollars. But one mans desire and greed took him so far as to plan and steal the valuable violin. With the help of another the violin was switched and he was able to leave building with the valuable violin in his possession. It was very suspenceful when he left with the violin and was quickly walking to his car when he was called out by someone working at the aution. At that moment he thought that he had been discovered but no, they only wanted to return his coat that he had left at the front desk. Where was he taking this valuable violin....it would be a gift for his child. Little did he know the story of this violin that he was going to give his child. Had he known the tragedy and the red color of the violin, would he have wanted it for his child. Maybe not.

Good, good movie.

The Red Violin
Rating Point :1 Helpful Point :0
My nephew raved about this movie. I ordered it, received it in a timely fashion, in great condition, but I really thought it was a boring movie. My husband and I did not care for it at all and found it very difficult to follow. It made little sense to us.

A Must for Violin Lovers
Rating Point :4 Helpful Point :0
This complex tale follows a magical violin from its tragic creation in 18th century Italy to its sale at a contemporary auction house in Montreal. Like any good movie, it requires the willing suspension of disbelief which for me was easy enough to do with the exception of Samuel L. Jackson playing the part of Charles Morritz, the violin expert. He is a wonderful actor but is totally miscast here. This is an entertaining film that weaves together several amusing vignettes accompanied by John Coriglianos enchanting film score. Buy it at a discount and you will not be disappointed.

Great Movie!
Rating Point :5 Helpful Point :0
I love this movie! It has passion, drama, action, love, loss, heart-wrenching moments, and the most amazing soundtrack Ive ever heard. This movie made me realise how wonderful the violin really is.

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Chariots Of Fire (Two-Disc Special Edition)

Chariots of Fire (Two-Disc Special Edition)

Amazon.com essential video

The come-from-behind winner of the 1981 Oscar for best picture, Chariots of Fire either strikes you as either a cold exercise in mechanical manipulation or as a tale of true determination and inspiration. The heroes are an unlikely pair of young athletes who ran for Great Britain in the 1924 Paris Olympics: devout Protestant Eric Liddell (Ian Charleson), a divinity student whose running makes him feel closer to God, and Jewish Harold Abrahams (Ben Cross), a highly competitive Cambridge student who has to surmount the institutional hurdles of class prejudice and anti-Semitism. Theres delicious support from Ian Holm (as Abrahamss coach) and John Gielgud and Lindsay Anderson as a couple of Cambridge fogies. Vangeliss soaring synthesized score, which seemed to be everywhere in the early 1980s, also won an Oscar. Chariots of Fire was the debut film of British television commercial director Hugh Hudson (Greystoke) and was produced by David Puttnam. --Jim Emerson

Product Description

An absorbing drama dealing with the personal struggle of two very different men who are distance runners competing in the 1924 olympic games in paris. Studio: Warner Home Video Release Date: 02/01/2005 Starring: Ian Charleson Ben Cross Run time: 124 minutes Rating: Pg Director: Hugh Hudson
Rate Points :4.0
Binding :DVD
Brand :Warner Brothers
Label :Warner Home Video
Manufacturer :Warner Home Video
MPN :WARD31908D
ProductGroup :DVD
Studio :Warner Home Video
Publisher :Warner Home Video
UPC :085393190828
EAN :9780790789118
Price :$26.99USD
Lowest Price :$10.50USD
Customer ReviewsChariots of Fire
Rating Point :5 Helpful Point :0
Bought this for my 17 year old grandson. Not sure if he has reviewed the DVD yet, but it appears he is satisfied with the product, since I have not heard different.

Great Movie
Rating Point :5 Helpful Point :0
This DVD came in great shape. I enjoyed it very much. Great price too!

dvd purchase
Rating Point :5 Helpful Point :0
It was a great product, and timely arrival. Price was good as well. I would recommend them.

Chariots of Fire and Wings on Their Feet
Rating Point :5 Helpful Point :0
I never saw Chariots of Fire when it was in the theater in the early 80s, but I became interested in it after I saw some of the sites where it was filmed when I was in Scotland recently.

Its based on the true story of the track team of Great Britain in the 1924 Olympics in Paris. Eric Liddell has become one of my heroes -- standing for what you know is right even in the face of incredible pressure and sacrifice.

Its an amazing film!!

Love this movie!
Rating Point :4 Helpful Point :0
Ive wanted a copy of Chariots of Fire for a long time, so I was thrilled to get this one. The quality was fine, although very dark at times, hence the 4 stars. It was really fun to see interviews with some of the stars and get their take on being involved in this project. Im really glad I purchased this movie.

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Immortal Beloved

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This sumptuous and moving 1994 film written and directed by Bernard Rose (Candyman) investigates the artistic and romantic passions of one of the greatest composers of all time. Featuring a superb performance by Gary Oldman (Sid and Nancy) as Ludwig van Beethoven, Immortal Beloved is full of uncommonly vivid, rich imagery as it charts the tumultuous life of the deaf child prodigy and his rise to the height of musical achievement. Along the way, he attempts to play mentor to his nephew, attend to his many passionate romances--the most stable one was with a countess (Isabella Rossellini)--and fight bouts of depression and madness that ruled his life and his art. The film is framed around a "Rosebud"-type letter found after the composers death that makes up the crux of the story. Jeroen Krabb (The Fugitive), playing Beethovens lifelong friend, attempts to discover who Beethovens muse really was, becoming as driven as his friend in discovering the unlikely identity of the composers "immortal beloved." Through this we gain an insight into the nature of obsession, romance, and the heights and sacrifices of artistic achievement. The film exhibits some extraordinary sound design, and the finale features a magical encapsulation of Beethovens life and loves set to his "Ode to Joy." As an exciting and passionate journey, Immortal Beloved is its own masterpiece. --Robert Lane

Product Description

Gary oldman is beethoven in this untold story of a man of genius a woman of passion and the mystery of a lifetime. Special features: dual-layer widescreen version subtitles: english spanish director bernard roses commentary original featurette talent files and theatrical trailer. Studio: Sony Pictures Home Ent Release Date: 03/06/2007 Starring: Gary Oldman Run time: 120 minutes Rating: R
Rate Points :4.5
Binding :DVD
Brand :Sony
Label :Sony Pictures
Manufacturer :Sony Pictures
MPN :COLD74769D
ProductGroup :DVD
Studio :Sony Pictures
Publisher :Sony Pictures
UPC :043396747692
EAN :9780767821421
Price :$14.94USD
Lowest Price :$7.51USD
Customer ReviewsMagnificent
Rating Point :5 Helpful Point :1
This movie has achieved the daunting task of being good enough for its music. I dont collect many movies because, even if I enjoyed them, I dont want to sit through them again after I know the endings. This is an exception. The acting and filmography are so great (not to mention the music) that I enjoy watching it over and over, even though I know the surprise ending. So well done.

Immortal Beloved, on Blu-ray is pure perfection!
Rating Point :5 Helpful Point :2
This is a magnificent film of great performances and inspired storytelling. Im sure it plays fast and loose with historical fact, but anyone who can appreciate Beethovens genius can surely find a fondness for this story. Gary Oldman portrays Beethoven with an aloof complexity he leaves the viewer spellbound with a hunger for more about Beethovens life. The supporting cast is equally impressive, with outstanding performances from Valeria Golino, Isabella Rossellini and Jeoren Krabbe. I can find no fault with Immortal Beloved as it tells an engrossing story through masterful performances and an amazing attention to period detail. Of course, the music of Beethoven is also profoundly moving, especially within the context of the film. This is a beautifully shot film with loads of natural grain and a fine attention to the most minute of period details.And speaking of detail, closely watch the many delicate fabrics that are used in the films costuming. Beethovens funeral is a notable scene where all of the women in attendance are wearing veils. The amount of detail in these veils is among the most startling fine film detail Ive yet seen conveyed in a home video presentation. Immortal Beloved, on Blu-ray is pure perfection! TrueHD soundtrack is outstanding and succeeds in every aspect. Sure, there is one scene where cannon-fire is nicely directional, but the remainder of the film is more ambient with a focus on performed music taking up the appropriate space in your home theater. Most of this music relies on the front speakers, but rear fill adds a nice acoustic touch in reproducing the atmosphere from whatever room in which we are watching the music performed.
Ive been a huge fan of the film for years and am thrilled to be able to experience it in my home in such outstanding quality.It would be a crime if I didnt give this film my highest recommendation.

Movie making at its best.
Rating Point :5 Helpful Point :0
If you have no appreciation for Beethoven or his music watching this film will undoubtedly change that. Directed with real verve and finely acted by the likes of Gary Oldman, I loved watching this film. I own this movie and drag it out every once in a while. Great recordings of his music by the current masters infuse some scenes with intense emotion: the emotions Beethoven himself must have felt. This is one of the finest period films I have seen, and can only recommend it highly.

Beautiful color, wonderful story.
Rating Point :4 Helpful Point :0
The blu-ray transfer on "Immortal Beloved" is excellent. Everything is distinctly clear, and the colors are vivid. The acting is very good. Story is touching with a great ending. Keeps you guessing. Recommended.

Fiery Passion and Genius
Rating Point :5 Helpful Point :1
Though this is a work of fiction, it does in fact reveal the genius of Beethoven himself, through passions and rages of scorching intensity. Director Bernard Rose in the commentary compares the films construction to that of "Citizen Kane," in that it begins with a mystery that begs to be solved if the man is to be understood. In this case, its a final will bequeathing everything to his "Immortal Beloved," along with an undelivered billet-doux to the unknown woman. In the course of trying to fulfill the maestros last wishes, the executor of Beethovens estate explores the composers past. Through flashbacks, Beethovens dizzying genius and private pain are revealed. Its true, that there is some license here, but its respectful of the facts, and tries to stay within the lines while exploring the possibilities. First, there really was such a final will discovered among his papers. Also, the custody battle over his nephew is well documented, and transcripts were consulted for some word-for-word re-creation, as Rose discloses in his commentary. The film takes license in that Rose purports to have solved the mystery, and he makes such a strong case, Im partially convinced he has.

But all of that is merely a means of exploring Beethoven. A thorough knowledge of his music would probably heighten the appreciation of some references to it. For instance, thought I cant claim to know that much, I do know that the 5th Symphony is about fate knocking at ones door. The very first image of the film is of Beethovens hoary head on a white pillow, surrounded by night. Lightning strobes in sync with the sudden obtrusion of the 5th. He succumbs. It was an artful touch, and there might be others similar to it that I didnt catch. But it adverted to me from the outset that this would be a meticulously crafted film.

For the performances by the actors, Im not sure Im being hyperbolic in saying that Gary Oldman is as stellar an actor as Beethoven was a composer. He was downright explosive at times, disdainful others, but somehow always sympathetic. His performance was nothing short of magnificent. In one of the two documentaries included on the disc, Oldman admits that he turned the role down a couple of times, until his agent convinced him it would be the right thing. Thank heaven! He was a fierce presence every time he was on the screen, as youd imagine Beethoven himself must have been when he walked into a room.

If you already own the SD DVD, as I did, and you still love this film, I suggest you go ahead and upgrade to the Blu-ray. There is so much filigree in the location shots and the costumes, it definitely benefited throughout from the hi-def transfer, and made seeing it even more pleasurable. The artistry of the film is given a more rightful emphasis.

As for the special features, theres been nothing added from the previous SD edition. But in this case, the beauty of the film itself makes it worth the upgrade.

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While still in his twenties, the Anglo-Irish playwright Martin McDonagh has filled houses in New York and London, been showered with the theatre worlds most prestigious accolades, and electrified audiences with his cunningly crafted and outrageous tragicomedies. With echoes of Stoppard and Kafka, his latest drama, The Pillowman, is the viciously funny and seriously disturbing tale of a writer in an unnamed totalitarian state who is interrogated about the gruesome content of his short stories and their similarities to a number of child-murders occurring in his town.

Rate Points :4.5
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Manufacturer :Dramatist's Play Service
ProductGroup :Book
Studio :Dramatist's Play Service
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Customer Reviews"Because you told me to..."
Rating Point :4 Helpful Point :0
Part of my Eng comp class reading - but fantastic. Katurian as the author and controller (or attempted) of the entire story and the stories within the story - it is so much happening in a world where nothing seems to happen - the "black, black gloom of the empty, empty, empty forest." The totalitarian police - and each characters backstory echoing in the stories of Katurian is also a circle that loops back onto itself. Hoping to see this play performed live shortly. The inner "Pillowman" story reminded me of some of DeLints short stories.

A Shocking Play. Beware!
Rating Point :5 Helpful Point :0
In June of 2005 I saw this play in a Broadway production. I was struck by the acting of Billy Crudup as Katurian, in a tour de force performance, but far less impressed by a hammy Jeff Goldblum as Detective Tupolski. As usual playwright Martin McDonagah was practicing his skills as the master of shock and awe with a bloody, gruesome work of black comedy. To say that he goes to extremes (blood, gore and mutilations) in his dramas is an understatement.
An audience to McDonagh must be made distinctly uncomfortable and unhinged, never to leave the theater complacent and untouched by the gruesome side of existence. His humor and dialogue owe something to the absurdist tradition. Crudup said people go to the theater to be manipulated, and that is certainly what McDonagh does even when people walk out on the macabre horror.
Katurian is an unpublished writer who penned a number of stories involving the murders or tortures of children. His mentally challenged brother (not necessarily retarded) Michal takes it upon himself to reenact the stories in the real world. Two police detectives are not afraid to torture a confession out of Katurian because they believe his stories incited his brother into committing the atrocities. Vicious and sadistic parents become part of the equation.
Irony and humor are often served side by side with the violence and mayhem. Scenes from the past of terrible childhood events such as suffocations are acted out on a level above the stage.
The three-hour play has power and focus in the first act, but then the focus shifts in Act 2 (in the staged version) to the interrogator detective, Jeff Goldblum, who tended to ingratiate himself with the audience. He tells a long story about a Chinese man that really puts the play off track with Crudup marginalized for a time. Comparing this play to Doubt, this play lacks unity of purpose or significant meaning. The theme, if there is any, gets lost. The only theme seems to be the power of the storyteller.
But is the whole play just another of Katurians stories? Is it real? Is the storyteller responsible for the mimicking of his stories by others? Does he encourage it? A twist comes when the third murder is a reenactment of one of his sunnier stories. If he dies, Katurian still wants his stories to live. They are why he lived, are more important than his life. Is the play all brilliant sound and violent fury signifying nothing?

I Was a Good Writer
Rating Point :5 Helpful Point :0
Martin McDonagh is one of the living legends of British theatre, a voice so brutal and yet so moving that we, the audience, find it very difficult to respond. I give The Pillowman five stars, but that does not mean I "like" this work--it makes himself immune to being liked. Rather, I give it five stars because, like a virus, it works his way into the cells of my being and refuses to leave me unchanged.

This is the only one of McDonaghs seven famous plays which is not associated with a real place in Ireland, or part of a longer arc of plays. Unlike The Beauty Queen of Leenane or The Cripple of Inishmaan, it is not necessary to be familiar with any other plays to understand this one. But the author does assume youre a literate person, familiar with the likes of Kafkas The Trial or Orwells Nineteen Eighty-Four, both of which it heavily alludes to.

Even if youve never seen this play, reviews and publicity have already told you that Katurian is a frustrated amateur writer who is being questioned by a pair of police who dont answer to anyone. His brother is being tortured down the hall. Katurian is the ultimate unreliable narrator, even though he only narrates at the very end of the play: he has no idea the effects he has on everyone around him. Like a hurricane, he is blind to the devastation he leaves in his wake. You cant trust a word that comes out of his mouth, even as you cant help feeling sorry for his predicament.

But hes not the only unreliable character in the play. Alliances are made and broken in the space of a sentence. Promises are only worth the air theyre made of. As Detective Tupolski says, "I am a high-ranking police officer in a totalitarian fing dictatorship. What are you doing taking my word for anything?"

The play challenges you to come into its world and answer its questions. Does free speech extend to cover lies? How about Katurians gruesome stories--are they free speech? Are they "speech" when someone, maybe Katurian himself, starts acting them out? And why is the interplay between the characters so bleakly funny?

This is not a light or frivolous drama, not something youll ever see in a school play. And its staging, with multiple locations and remarkable on-stage violence, will require a very heightened sense of theatricality which will push many producers to their limits. But it is also an experience which will not leave you unchanged in your seat. One of the top dramatists of his generation, Martin McDonagh is a force to be reckoned with, a force of nature, like a hurricane--blind to the devastation in his wake.

Stunning! Entertaining! Brutal! The years best!!
Rating Point :5 Helpful Point :0
This is perhaps the most brutal, most tragic play this side of Dont Pet the Zookeeper! Furiously theatrical and not the least bit forgiving, this play will sear itself into your mind. It will forever change the way you look at theatre.

Wow.
Rating Point :5 Helpful Point :0
Martin McDonagh, The Pillowman (Dramatists Play Service, 2003)

The first scene of The Pillowman plays out about like youd expect a writer somewhere in an unnamed totalitarian state (given the names, its set somewhere in Eastern Europe) is being interrogated by a couple of policemen. A series of child killings is occurring that are quite reminiscent of those in the writers unpublished stories. (If it sounds like a mix of Closetland and The Mystery of Rampo, youre thinking along the right lines.) He keeps protesting his innocence. One of the policemen threatens to torture the writers mentally challenged brother, then heads off into another room, and after a while we hear screams. Its all relatively disturbing, but nothing entirely unexpected given the subject matter.

Then comes scene 2, and all the sudden The Pillowman is something entirely different than we think it is. (You know that bit in Se7en where Morgan Freeman does a complete about-face during the climax? Yeah. Except even farther off the track.) Different, and even more interesting than it already was. Gripping, even. I read through the first scene last night somewhat leisurely, then went to sleep. When I started reading scene 2, I was hooked, and didnt put the book down until Id finished it.

All the film comparisons are because, of all the plays Ive read over the last couple of years, this is the one I can see being most powerful if ever translated to a film (a la Bug). While its still got that theatrical sensibility about it-- when one is dealing with a stage play, one does a lot more telling than showing-- its plotted much more like a film script. Twists abound. Characters do subtle things that presage monumental changes later on. Most of the telling that goes on when you dont have many ways to show things is happening between the lines. And it all works. Most of the time it works brilliantly. (Theres one character whose outlook at the end, and his process of getting there, seemed a bit clich. But thats a minor point.) Few, if any, words are wasted here, and most of them seem measured for their punch. This is lean, muscular stuff in the vein of someone like James Dickey. It almost sings, though the song coming from it sounds more like a dirge.

Its fabulous all the way around. I cant recommend it highly enough, and its a shoo-in for my ten best reads of the year list.

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