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Verdi: Luisa Miller (Parma 2007) (Surian, Luperi, Alvarez, Demuro, Franci, Siwek, Nucci, Cedolins, Lungu, Nikolic, Villari) (C Major: 722904) (Blu-ray) [2013] [NTSC]


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Verdi: Luisa Miller (Parma 2007) (Surian, Luperi, Alvarez, Demuro, Franci, Siwek, Nucci, Cedolins, Lungu, Nikolic, Villari) (C Major: 722904) (Blu-ray) [2013] [NTSC] + Verdi: Il Corsaro (Parma 2008) (Ribeiro, Lungu, Salsi, Dalla Benetta, Bonfatti, Papi, Villari, Lamberto Puggelli, Carlo Montanaro) (C Major: 722504) [Blu-ray] [2013] [NTSC] + Verdi: La Battaglia Di Legnano (Triest 2012) (López Linares, Theodossiou, Richards, Ruggero Cappuccio, Boris Brott) (C Major: 722704) [Blu-ray] [2013] [NTSC]
Price For All Three: £87.64

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Product details

  • Actors: Orchestra e Coro del Teatro Regio di Parma, Surian, Luperi, Alvarez, Demuro
  • Format: Classical, NTSC, Widescreen
  • Language: Italian
  • Subtitles: English, German, French, Spanish, Chinese, Korean, Japanese
  • Region: All Regions (Read more about DVD/Blu-ray formats.)
  • Aspect Ratio: 16:9 - 1.78:1
  • Number of discs: 1
  • Classification: Exempt
  • Studio: C Major
  • DVD Release Date: 4 Mar 2013
  • Run Time: 156 minutes
  • Average Customer Review: 3.0 out of 5 stars  See all reviews (2 customer reviews)
  • ASIN: B0094AH3AW
  • Amazon Bestsellers Rank: 121,412 in DVD & Blu-ray (See Top 100 in DVD & Blu-ray)

Reviews

Product Description

TUTTO VERDI
GIUSEPPE VERDI (1813-1901)
LUISA MILLER

TEATRO REGIO AND VERDI FESTIVAL PARMA, 2007
SURIAN, LUPERI, ALVAREZ, DEMURO, FRANCI, SIWEK, NUCCI, CEDOLINS, LUNGU, NIKOLIC, VILLARI
ORCHESTRA E CORO DEL TEATRO REGIO DI PARMA
DONATO RENZETTI
DENIS KRIEF


To celebrate Giuseppe Verdi's bicentenary in 2013, C Major is proud to present the truly unique project, TUTTO VERDI; All 26 operas released on DVD and Blu-ray, together with his immortal Requiem and special documentary.

C Major's Tutto Verdi project continues with a production of Luisa Miller. The opera was based on the play Kabale und Liebe by Friedrich von Schiller and features a Great cast of singers including Marcelo Álvarez, Leo Nucci, Fiorenca Cedolins and Giorgio Surian

BLU-RAY
PICTURE: 16:9, HD
SOUND: DVD: DTS 5.1, PCM Stereo
BD: DTS-HD MA 5.1, PCM 2.0
RUNNING TIME: Total: 156 minutes
(Opera: 146 minutes, Bonus: 10 minutes )
SUBTITLES: Italian (original language), English, German, French, Spanish, Chinese, Korean, Japanese

Review

A musically strong Luisa Miller… Ensembles are tightly knit. Donato Renzetti's conducting is superb, drawing idiomatic playing from his Parma orchestra. --Mark Pullinger, International Record Review

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Most Helpful Customer Reviews

6 of 7 people found the following review helpful By Noam Eitan on 2 Feb 2013
Format: Blu-ray
This production opened the Verdi Festival in Parma in 2007. It was a huge success and marked a high point in the history of the Verdi Festival. Director Denis Krief, who also designed the sets, costumes and lighting, updated the action to the 1930's. There is a clear demarcation between the two social classes that clash here, the nobility and the peasantry. The aristocrats are clad in black and white and inhabit sets with the formal frost of huge aseptic geometric shapes, that represent the rigid order of their sheltered world and the emptiness of their souls. Wurm and the Count's hunters are dressed like fascist goons. Duchess Federica is dressed in blazing red and the chorus in her reception in goofy white formal suits, as if she occupies some kind of fantasy world. The villagers are in simple, warm and attractive earth and wood colors; Miller's house is outlined by bare wood walls and a simple table. The rustic setting is represented by striking projections of leafy trees blowing in the wind and changing color with the mood of the scenes. The performance flows like a movie without interruptions - the transition between scenes is managed smoothly and cleverly with the barest of means, like sliding panels. The performance starts with birthday candles and ends with funeral candles, closing a circle of pain.

The director's careful work with the singers and chorus shows: the acting style is naturalistic and interactions and relationships ring true, nothing feels contrived. The plot is clarified and scenes of confrontation leave a gut wrenching impact. The conflicts between the two fathers and their children are vividly enacted with psychological subtlety and refinement.
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0 of 3 people found the following review helpful By lawrence paul glover on 9 Jan 2014
Format: Blu-ray Verified Purchase
Obviously a good version, but no bloody English subtitles. Probably wont ever bother with it. A waste of time sadly.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 6 reviews
14 of 14 people found the following review helpful
A successful, modern production and a superb performance 30 Jan 2013
By Noam Eitan - Published on Amazon.com
Format: Blu-ray
This production opened the Verdi Festival in Parma in 2007. It was a huge success and marked a high point in the history of the Verdi Festival. Director Denis Krief, who also designed the sets, costumes and lighting, updated the action to the 1930's. There is a clear demarcation between the two social classes that clash here, the nobility and the peasantry. The aristocrats are clad in black and white and inhabit sets with the formal frost of huge aseptic geometric shapes, that represent the rigid order of their sheltered world and the emptiness of their souls. Wurm and the Count's hunters are dressed like fascist goons. Duchess Federica is dressed in blazing red and the chorus in her reception in goofy white formal suits, as if she occupies some kind of fantasy world. The villagers are in simple, warm and attractive earth and wood colors; Miller's house is outlined by bare wood walls and a simple table. The rustic setting is represented by striking projections of leafy trees blowing in the wind and changing color with the mood of the scenes. The performance flows like a movie without interruptions - the transition between scenes is managed smoothly and cleverly with the barest of means, like sliding panels. The performance starts with birthday candles and ends with funeral candles, closing a circle of pain.

The director's careful work with the singers and chorus shows: the acting style is naturalistic and interactions and relationships ring true, nothing feels contrived. The plot is clarified and scenes of confrontation leave a gut wrenching impact. The conflicts between the two fathers and their children are vividly enacted with psychological subtlety and refinement. Sometimes, when a singer withdraws into himself and outpours his heart in a standard aria-cabaletta format, the director strips the staging down to a singer trapped in a claustrophobic space and nothing else. It's a stand-and-deliver with a twist, simple and effective, and it focuses the attention on the character's struggles at that moment. Moments that would be operatic clichés in other productions resonate here with dramatic reality and bring to life Verdi's intentions in the score.

All the six singers-actors achieve a rare musical-dramatic expressivity and get to the heart of their roles. The trio of Fiorenza Cedolins, Marcelo Álvarez and Leo Nucci are such marvelous artists! What impressed me most about Cedolins were the clarity and precision of attack, perfect trills with accurate staccatos and smooth legato, combined with a very bright and shimmering timbre. This timbre harkens back to the young girl sound of the old Italian school - light, agile and plaintive, but can also acquire strength, impact and even a thrilling metallic edge. She traces a vivid arc: from the ecstatic girl in love of act I with a voice as sparkly as champagne bubbles, through the pleading victim of act II - she puts up a spirited battle with Wurm, culminating in the tragic figure of act III, expressing both heartbreaking resignation and her love for her lover and her father in the final trio "Padre, ricevi l'estremo addio".

Marcelo Álvarez - if I wrote that he gives a red blooded mesmerizing performance I wouldn't capture half of it. Sparks fly in every direction as soon as he appears on stage. He inhabits musically and dramatically all facets of the complex role with complete conviction and effortless, warm, passionate, thrilling and secure delivery. His affection to Luisa in act I is genuinely infectious and his anxiety in his duet with Federica palpable. In the act's finale he goes from lyric outpourings to a rapidly escalating confrontation with his father that is hair-raising - he achieves demented peaks here that rival anything the operatic gods of yore could produce at their most demented. In act II he is able to put the "appassionatissimo" marked in the score into his big aria "Quando le sere al placido", with subtle variations of soft singing. The pain of betrayal and disbelief in "Ah! Mi tradia!" is poignant and heartfelt. By the cabaletta "L'ara, o l'avello apprestami" you can hear and feel his despair pushing him over the edge and into the homicidal-suicidal-vindictive monster he is to become in act III (the reprise of the cabaletta is cut - the only cut used.)

The great Leo Nucci, here at the age of sixty-five is unmatched as a Verdi baritone. He offers, as always a lesson in Verdi singing, with solid support, vocal freshness, a broad range of color and tone and an impressive upper register. He is a consummate actor here and seems a perfect fit to his role as Luisa's father and a retired soldier with a very clear set of values. This production is particularly effective in putting these values in a visual and dramatic context that makes sense: "the choice of a spouse is sacred"; "I am not a tyrant, I'm a father", and the biggest of all, "l'onor", which he is ready to defend against the Count and the world. Many of Verdi's characters are big on "l'onor", but rarely is this sentiment communicated as naturally as it is here - you really feel for this guy shaking his fist at the Count. It seems that this Miller could be someone you actually have met or could be your next-door neighbor - you can relate to this character, his world and his motives.

Giorgio Surjan as Count Walter and Rafal Siwek as Wurm look and sound their parts: the one old, cold and aloof, with the corners of his mouth constantly curved down like there is a big chip on his shoulders, and the other sinister and evil. Francesca Franci is a perfect Dutchess.

The Parma chorus coached by Martin Faggiani is first rate and the director makes good use of them as part of the action (in most productions they just stand).

I cannot shower enough praise on Maestro Donato Renzetti. What is the right beat in a given moment? Whatever it is, Maestro Renzetti always seems to find it. There are loud cheers, riotous bravos and repeated cries of "Bis! Bis!" directed at the three outstanding principals from the audience in raptures. A rain of confetti from the loggione is released at Cedolins' final curtain call. She picks one up, and once she reads what it says she gives Nucci and Álvarez each one of these notes. They read:

"Grazie

Fiorenza - Leo - Marcelo

Tornate a trovarci presto!!!!" (Come back soon to visit us).

The singers are body miked (the mikes are very well concealed). Sound engineers deconstruct the sound to a gazillion tracks and reconstruct some artificial mix according to their skills, preferences and available time. With body mics the result is flat, you miss the feeling of a voice projecting into a space, the squillo, the ping. The body mikes also exaggerate Cedolins' tiniest deviations from pitch, which would not be noted in-house. This is another example of the maxim that the more toys sound engineers have available to play with the worse the outcome.

Video direction is way above the usual RAI standards (but not quite at the level video director Tiziano Mancini achieves in Parma videos from 2008 on). It seems that even the camera crew was swept in the enthusiasm and involvement of all involved in this production, as there are some inspired moments of camera work.

This is the end of my review. What follows as an addendum is a boring technical analysis with some annoying digressions - you are strongly encouraged to stop reading here.
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Addendum: I first heard Cedolins and Álvarez in this opera when they had a double debut in Madrid in December 2005. It was the first time Cedolins sang Luisa. If they were great in Madrid in 2005 they were even better in Parma in 2007. In the first scene Luisa sings of her love for Rodolfo "Lo vidi, e'l primo palpito". Verdi expresses her naïve ecstasy with multiple staccato notes, multiple trills of varying lengths, an ascending scale in staccato and finally a descending and ascending scale in staccato that starts and ends on a high C. All these staccatos and trills are there to give the feeling of an excitement sparkling as champagne bubbles - it is the emotional starting point of her journey to hell. When you check how various sopranos dealt with this piece in live performances and some even in their studio recordings, you find out that they all cheat here, all of them, including the greatest names. There are clips on youtube, you can check (I'm sure the score is available online). I'm not The Score Police, but the problem is that when you don't sing it as written the right mood of light (the score has "leggiermente" marked twice here), insouciant, bubbly excitement does not come off. A certain famous soprano on a DVD from a leading opera house goes beyond cheating here to a wholesale massacre of the score - no trills, no staccatos, just a fixed generic smile (that highly acclaimed DVD looks like a museum piece compared to this Parma one). To understand the difficulty singing scales in staccato try to sing some famous song, like "Happy Birthday" in three stages: first with the words, then without, only the notes, and finally try to sing the melody staccato, hitting each note separately and quickly, like a click. You will notice it is difficult to hit the note in the center of its pitch when attempted staccato. If you try a whole scale staccato, every time you hit a note a little off pitch it will stand out painfully because of the context the scale creates. This is a very exposed, risky singing so it's understandable why all sopranos avoid it to varying degrees. Cedolins is the only soprano I've encountered who sings it live exactly as written, and the result shows it is worth the effort because the musical meaning of the arietta becomes clear. It's a testament not only to her skills but also to her courage and artistic integrity.

This is the motto of this addendum - when you follow the score you realize that both in Parma in 2007 as well as in Madrid in 2005 the success of the soprano and tenor hinged on following every tiny mark in the score (there are souvenirs from the Madrid prima and second performance, rumored to have been taped with Schoeps MK4 cardioids from ideal seats). At the end of act I Álvarez gives a demented performance of a quickly escalating confrontation with his father. He sings: "Ah! tutto tentai, non restami/ che un infernal consiglio/ se crudo, inesorabile/ tu rimarri col figlio./ Trema! Svelato agl'uomini/ sarà dal labbro mio/ come giungesti ad essere Conte di Walter!" (Ah! I tried everything, if you remain cruel, inexorable to your son, there remains to me only an infernal measure. Tremble! It will be revealed to mankind from my lips how you became Count of Walter!) Verdi marks from "Trema!" "sotto voce, all'orecchio di Walter, con terribile accento" (softly, to Walter's ear, with a terrible emphasis). Then, from "come giungesti" to the end (four bars) he marks a long crescendo, "Conte di" marked "tutta voce" and the last word "Walter" takes a whole bar and marked with a fermata (which means the tenor can hold it as long and as loud as he can) and "tutta forza". So Verdi writes here an eight bar crescendo that starts "softly" and quickly escalates into "tutta forza". This is exactly what Álvarez does, and the effect is so breathtaking exactly because he follows the markings in the score in every bar. Nucci achieves his subtle variations and rich shading by following all the dynamic markings and the accents (marcatos) in the score.
4 of 4 people found the following review helpful
Verismo before Verismo 3 Sep 2013
By Dr. John W. Rippon - Published on Amazon.com
Format: Blu-ray Verified Purchase
Before this recording I was somewhat familiar with Verdi's Luisa Miller of 1849. I had seen it on stage a few times in forgettable performances. I knew the video with the lovely June Anderson who sang beautifully as the innocent girl for two acts but wasn't quite up to the demands of the intimate drama of the third. And I knew the Met performance where Renata Scotto rewrote Verdi's music to cover her failing vocal abilities. In both of these performances the tenors(and this is a tenor's opera) were simply inadequate. When I saw the cast list for this recording I was uneasy about Cedolins as the sweet ingénue of Act 1. I remember her as the stentorian-voiced Norma of an excellent production and a quite fine brassy Tosca. But after a few exposures to this video I see her now as a consummate artist who can convey innocence in the first act, the wronged but steadfast lover in the second and in the third act rise to great heights as a dramatic actress unmatched in today's operatic world. What a wonderful recording this is!
As I've said before this is a tenor's opera and it's viability depends on him. Marcelo Alvarez is a Verdi tenor: lyrical, ardent, despairing and ultimately a loser but here he must also be spinto dramatic to carry the tragedy to it's conclusion. Alvarez has the voice and technique to do all of these and more. Certainly Placido Domingo's "Quando le sere al placido" was more beautiful but he didn't become a tragic actor till later in life with Otello. Thus he could not measure up to the naked drama of act 3 as Alvarez does (I won't say anything about Renata Scotto last act performance).
Luisa Miller is Verdi's first after the so called "galley years". He is now well recognized, comfortable financially, and has mastered his craft. He can now do things more leisurely and take time with his composing and Luisa Miller shows this. There are several characters in Luisa and each one is well developed; the father - Miller, daughter - Luisa, suitor Rodolfo, his father the Count, and the cad - Wurm (the duchess Fredrica is short changed; writing for mezzo will wait until Trovatore). Then there is the increasing mastery of orchestration, the sensitive scoring, flexibility of musical forms, less fussy accompaniment to arias, two long dialogue recitatives (Luisa - Miller & Luisa - Rodolfo); long dialogues did not occur in earlier opera as Verdi thought the audience would be bored. Here they are the high points of the drama.
Miller is a Verdi baritone role of the first order. Here it is done superbly by Leo Nucci and it is a dramatic high point. Nucci is amazing! He just goes on and on. One excellent performance after another and each an individual well thought out performance. Giorgio Suria is an excellent example of the Verdi bass: granite-like, monochromatic, inflexible and here the ultimate loser.
A special accolade to Donato Renzetti. He put the orchestra in top form and really made possible this great performance; among the very best of the Tutto Verdi series.
This opera is the first of Verdi's that is not about Medieval knights or tales from the Bible. This is a tragedy of ordinary people. An innocent girl betrayed by circumstances beyond her control (as Giselle act 1). This is drama of everyday people- Verismo before it had a name.
6 of 7 people found the following review helpful
Near perfectly Done 8 Mar 2013
By John G. Gleeson Sr. - Published on Amazon.com
Format: DVD Verified Purchase
Back in the day, Verdi scholars like Charles Osborne (The Complete Operas of Verdi) and Julian Budden (The Operas of Verdi) regarded Luisa Miller as a transitional opera, with the last act showing Verdi's "mature" style while the first two were regarded as more of that "oom-pah-pah" Bel Canto stuff. Fortunately for opera fans in general, and Verdi fans in particular, that old school attitude is going, going, but not quite gone (Budden's three volume work was copyrighted in 1973, Osborne's in 1969). With the bicentennial of the Maestro's birth being celebrated this year, the issuence of DVDs of all his works enable us to formulate opinions independant of the academic set.

Luisa Miller is, of course, loosely based on Shiller's Kabale und Liebe (Intrigue and Love). In it, Verdi is seen moving from the more histionic works toward a more studied treatment of the human condition. The drama is far more focused than in earlier works while the music is rich and melodic. This near perfect performance is a real winner!

Leo Nucci continues to amaze! He is close to 65 but his voice is in fantastic shape. In the cabaletta, "Ah! Fu giusto il mio sospetto!" following his Act I aria (Which Osborne calls "ordinary", but which is anything but!), he ends with a high A, which even Cornell MacNeil eschewed in his CD recording with Moffo and Bergonzi. Nucci is the featured baritone in several of the C major "Tutto Verdi" series and I have yet to find him in anything but top form to date. His acting, by the by, is in keeping with the high quality of the singing.

Marcello Alvarez is also in top form in this recording. He has a lot of singing to do, much of it right in the passagio, but there is no sign of strain or fatigue. His "Quando le sere al placido" is definitive: I have heard many tenors sing this aria over the years, but none better than this. Dramatically he is spot on, as well, which is not always the case with him.

Much the same can be said of Giorgio Surian (Count Walter) and Rafal Siwek (Wurm). The former is vocally secure and dramatically involved, while the latter, singing to the same high level as his compatriots, is a marvellous villain, including the required leers and sneers.

Fiorenza Cedolins is a better Norma than a Luisa. She is not lyric enough to realize this role as well as some of her sisters do, but she still does a magnificent job, and my nit picks on the vocal side do not in any way diminish my enthusiasm for this performance. She executes this role with all the trills, pianissimi, bells & whistles and is splendid in the dramatics.

Staging here is quite good; it is a more traditional approach, done with apparent respect for the libretto. One of the highlights, for me at least is the Act II duet ("Pallida, mesta sei!") between Miller and Luisa. It is the first of the father daughter duets which, in Verdi, is so well known. It is perfectly realized, as is the case with most of what is performed here.

Chorus and orchestra under Donato Renzetti are also splendid. In my reviews of other C Major releases, I have noted the particular nature of regional Italian opera, especially that of Parma, in the heart of Verdi country. "Idiomatic" is the word that comes to mind, but that may be imprecise. Whatever it is, it adds a quality that is frequently missing in performances in the big houses, and it extends to the audience, as well as the performers (in reading a review of the performance of Il Trovatore that C Major will release later this month, the anger of the audience at cuts and a lackluster soprano reflected an attitude that is rare in New York or London).

Disc quality is superb: The picture is crisp and the DTS sound is something that continues to amaze me by providing a near equivalent to the live performance.

Buying this one is a no brainer; you simply cannot go wrong .... unless you're into the German guy.
No Verdi-fan should miss this one! 22 Nov 2014
By Peter - Published on Amazon.com
Format: Blu-ray
Nothing to complain about here! This is an altogether fantastic performance from Parma, full of life and drama. The main singers are beyond praise. Fiorenza Cedolins sings Luisa with power, technique, and perfect intonation. Marcelo Álvarez, probably one of the best lyric tenors of his generation, sings Rodolfo with insight and pondus. Commendation also goes to the other singers; Giorgio Surian (Conte), Francesca Franci (Federica), Rafal Siwek, and Leo Nucci (Luisa's father). I liked the direction, sets and costumes very much, all signed Denis Krief. The orchestra, conducted by Donato Renzetti, seemed to be inspired by what happened on stage. This is a performance no Verdi-fan should miss!
no headline 4 Sep 2013
By boney weather - Published on Amazon.com
Format: DVD Verified Purchase
I HAVE NEVER SEEN THIS OPERA,BUT WAS IMPRESSED WITH IT. I HAVE TWO CD RECORDINGS.ONE WITH CABALLE,PAVAROTTI,MILNES AND ONE WITH KELSTON,LAURI-VOLPI WHICH WAS A LIVE BROADCAST,ROME,FEB.1951. I ENJOYED THIS DVD.MARCELLO ALVAREZ IS AMOUNG THE GREATEST TENORS I HAVE HEARD AND I CAN MENTION MANY.FIORENZA CEDOLINS IS A DELIGHT TO WATCH AND LISTEN TO.I FIRST SAW HER IN TOSCA WITH ALVAREZ WHICH WAS FANTASTIC. LEO NUCCI NEVER SEEMS TO GET OLDER AND HE IS ONE OF THE GREAT VERDIAN BARITONES. HOWEVER,I MUST SHOW MY BIAS.I AM OF THE OLD SCHOOL OF OPERA AND WHEN IT COMES TO BARITONES (AND OTHER VOICES,MALE AND FEMALES) THE GREAT ONES OF THE PAST CANNOT BE COMPARED-SUCH AS ROBERT MERRILL AND LEONARD WARREN.NEVERTHELESS,I THOROUGHLY ENJOYED THIS PRODUCTION VERY MUCH.
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