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The Marriage of Figaro [DVD] [2011] [NTSC] [2012]

Coleman-Wright    Exempt   DVD
3.0 out of 5 stars  See all reviews (3 customer reviews)
Price: £29.99 & FREE Delivery in the UK. Details
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Product details

  • Actors: Coleman-Wright
  • Format: NTSC
  • Language: English
  • Subtitles: English, French, German, Spanish, Italian
  • Region: All Regions
  • Aspect Ratio: 16:9
  • Number of discs: 2
  • Classification: Exempt
  • Studio: Opera Australia
  • DVD Release Date: 20 Jun 2011
  • Run Time: 183 minutes
  • Average Customer Review: 3.0 out of 5 stars  See all reviews (3 customer reviews)
  • ASIN: B004T6B9QA
  • Amazon Bestsellers Rank: 141,125 in DVD & Blu-ray (See Top 100 in DVD & Blu-ray)


Product Description

Charming, lighthearted and fizzing with subversive wit, Neil Armfield's sparkling production of The Marriage of Figaro masterfully captures Mozart's most popular comedic opera.

In this classic performance, recorded live at the Sydney Opera House, Patrick Summers conducts an energetic fresh-voiced cast, headed up by baritone Teddy Tahu Rhodes and Taryn Feibig who make a vivacious, appealing pairing as Figaro and Susanna, while Peter Coleman-Wright triumphs as the lascivious Count Almaviva.

Product Description

Teddy Tahu Rhodes (Figaro) - Taryn Fiebig (Susanna) - Peter Coleman-Wright (Almaviva)... Opera Australia Chorus - Australian Opera and Ballet Orchestra - Patrick Summers, direction

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Customer Reviews

3.0 out of 5 stars
3.0 out of 5 stars
Most Helpful Customer Reviews
2 of 2 people found the following review helpful
4.0 out of 5 stars Quite good fun 9 Oct 2013
I will start with the costumes, they are all pretty reasonable for the period. There are some deliberate anachronisms in the props which I presume are meant to be fun. Watch out for doors with ladies and gents symbols on them, less subtle is an ironing board, a hair-drier, a table with a tea urn and modern tea cups to name but a few.
The sets are rather dull but not inappropriate. Act 1 is a panelled and draped room, act 2 an attic type bedroom, act 3 is in front of a wall which rises to reveal a room laid out for a wedding feast. The last act starts with the wall which then reveals a garden.
The cast vary from good to very good. Teddy Tahu Rhodes has a rather throaty baritone which is not quite to my taste but he more than makes up for it with his energy and characterisation. He also shows a great sense of fun. Peter Coleman Wright is an adequate Almaviva, good voice and credible character. The other gentlemen are perfectly good both in voice and acting.
I know that I am biased towards the ladies voices, but Rachelle Durkin has a very sweet voice and sings completely without effort. This takes nothing away from Taryn Fiebeg who beside having a lovely voice is a very feisty Susanna, not frightened to put the boot in. Jacqueline Dark has an interesting mezzo, with an unusual edge to the voice which is rather attractive to listen to. Sian Pendry and Claire Lyon are also very listenable and make the most of their talents in their solo spots.
To sum up, this is very entertaining production, there is quite a bit of fun in it, and the audience are prompted to titters and laughs from some excellent timing from the cast. It is not the best version that is in my library, but it is a welcome addition.
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1 of 2 people found the following review helpful
3.0 out of 5 stars Meet the Flintstones 28 May 2013
I have been very impressed with the recent series of films from Opera Australia. This production of The Marriage Of Figaro proves to be the exception. This is visually a very ugly production with lots of brown drapes around the stage so that it looks as though the action takes place in a cave. I have never seen an updated version of this opera, the droit de seigneur plot would probably preclude it, but this is the first apparently stone age version. There are anachronistic touches, such as an iron, a hairdryer and a vacuum cleaner reminding me of the anachronistic humour of the Flintstones.

Stone age direction and acting too. Mozart and Da Ponti's opera is really a farce set to music so it calls for expert timing but director Neil Armfield and his cast bungle every opportunity to make it fizz.

Best of the cast are Peter Coleman-Wright's Count and Taryn Fiebig's Susanna. As Figaro, to me, Teddy Tahu-Rhodes has a voice like a hacksaw. Rachel Durkin is decorative but out of her depth as the Countess. Sian Pendry as Cherubino can make little of her two big numbers. She seems more intent on humping a doorknob and an ironing board. She sports a wispy moustache and beard. I expected Susanna and the Countess to shave it off when they dressed her as a girl but that would have been too logical.

Often the minor parts in this opera can be a delight. They are usually played by experienced mature singers. In this production they are mainly played by heavily made-up young performers who neither have the vocal or acting ability to make anything of their roles.
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1 of 2 people found the following review helpful
2.0 out of 5 stars Opera Reviews 13 Dec 2012
Format:DVD|Verified Purchase
So far, I have purchased Marriage from Royal Opera House, Teatro Real de Madrid and Opera Australia. The singing and the orchestra in all were excellent. I have no problems there, but in the sets, dramatic actions, overture drama, and the non-verbal parts I encountered some major differences.

I was upset with the use of anachronistic set design with the Opera Australia, particularly the use of a floor hair dryer, red lounge chair, and electric iron, etc amid 17th century costuming and sets. This puts this version at the bottom of my list.

In the version from Madrid, I found the set design much better, especially hiding under the bed scene and the Spanish influence in the set design. However, I found a lack of dramatic non-verbal action in the faces/bodies of the main characters. It reminded me of a stand up singing of a pop star. I would place this version second on my list. I was pleased to see Barbara Fritoli whom I have not seen since the Met's Carmen.

The best version came from London. The non-verbal story during the Overture and the dissolving into the room which slowly glided onstage to allow the transition into the first act. The four plot lines (countess/count, Figaro/Susanna, Bartolo/Marcelina and the eves dropping servants) kept me glued to the story. In addition, all of the non-verbal facial expressions and body language gave depth to the story. In one sense, one could watch this version without the sound and still understand the storyline. One example, the scene at the beginning of the third act in which Susanna has refused the count's lustful advances (all displayed in his face and body language) when she suddenly says, "Yes!" and he jerks his head around with the surprised look on his face. This version was riddled with non-verbal action to further the plot lines. All the characters including the servants and the cleaning woman made this story a delight to watch over and over again, which I did.
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