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  • Verdi: Il Corsaro (Parma 2008) (Ribeiro, Lungu, Salsi, Dalla Benetta, Bonfatti, Papi, Villari, Lamberto Puggelli, Carlo Montanaro) (C Major: 722504) [Blu-ray] [2013] [NTSC]
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Verdi: Il Corsaro (Parma 2008) (Ribeiro, Lungu, Salsi, Dalla Benetta, Bonfatti, Papi, Villari, Lamberto Puggelli, Carlo Montanaro) (C Major: 722504) [Blu-ray] [2013] [NTSC]

3 customer reviews

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Product details

  • Actors: Orchestra e Coro del Teatro Regio di Parma, Ribeiro, Lungu, Salsi, Dalla Benetta
  • Format: Classical, NTSC, Widescreen
  • Language: Italian
  • Subtitles: English, German, French, Spanish, Chinese, Korean, Japanese
  • Region: Region A/1 (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: 11 Mar. 2013
  • Run Time: 117 minutes
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (3 customer reviews)
  • ASIN: B0094AH38O
  • Amazon Bestsellers Rank: 116,753 in DVD & Blu-ray (See Top 100 in DVD & Blu-ray)

Reviews

Product Description

To celebrate Giuseppe Verdis 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 presents a production of Il corsaro, performed in 2008 at the Verdi Festival in Parma. Written in 1848, this three-act opera is based on Lord Byron's poem The Corsair.

Released for the first time on Blu-ray.

Review

Plenty of good music and piratical heroics make this traditional staging eminently watchable. --Mark Pullinger, International Record Review

Customer Reviews

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Most Helpful Customer Reviews

8 of 8 people found the following review helpful By Noam Eitan on 1 Feb. 2013
This was shot over two performances in Busseto, in October 2008. Teatro Verdi in Busseto is a small but beautiful building inside the Pallavicino castle. This staging was captured on a Dynamic DVD when it played in Parma in 2004. It's a simple, traditional and beautiful staging that was scaled down for Busseto from Parma's much larger house (1200 seats in Parma vs. Busseto's 300). They could fit only 27 Parma orchestra players into the Busseto pit.

Director Lamberto Puggelli's staging employs a dramatically effective system to outline the action and convey a sense of time and space. The single set is a deck of a ship with sails, ropes and masts going up and down for scene changes. Costumes are rich and colorful. There is a thrilling battle scene between the pirates and the Turks. The staging and lighting are replete with wonderful and ingenious touches.

The four leads were relatively young and unknown singers at the time. They are all very good in every aspect, three are superb. The Parma choir, prepared by Martin Faggiani is as always first rate. Video direction by Tiziano Mancini is on the same high level of his work in Parma. The sound is fantastic. The PCM stereo track gives you the perspective of a seat deep in the house with some hall resonance. I have only a stereo setup and I played the DTS-HD 5.1 Master Audio surround sound track accidentally. I don't know what my stereo setup does with this track (a stereo mix-down or just the front speakers?) but what I heard was very intriguing. The perspective is from a front row seat, no hall resonance, but what surprised me was the realistic sense of presence. The singers were located in a three dimensional vocal space very clearly and there was something in the sound that was very natural, lighter and more pleasant on the ears.
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3 of 3 people found the following review helpful By H. A. Weedon TOP 1000 REVIEWERVINE VOICE on 6 Oct. 2013
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This production is enhanced by the helpfully simplistic staging by Lamberto Puggelli who has cleverly designed each scene to conger up the correct feeling in the viewer of being there: on a ship, in a palace and so on. Over-elaborate staging can so easily detract from the action. The costuming is also very good, evoking the period of the action without being overdone. The orchestration is both sympathetic and inspiring.

Best of all, it's plain to see that every performer is giving of his/her very best. We have here both top class singing and top class acting and a well directed chorus. Luca Salsi in the role of Seid, the Moorish chieftain, is outstanding. What a voice! What singing! Silvia Dalla Banetta is equally good as Gulnara, Salsi's favourite sex slave. The character of Corrado, captain of the corsairs, comes across as the weaker man of the two in relation to Salsi, who comes across as someone who knows his own mind and also how to achieve his aims; but not with Gulnara, who manages to outwit him and achieve a way of escape for Carrado. Unfortunately, he's not keen to take advantage of her initiative and only does so after much persuading.

Gulnara is devastated to discover that Corrado loves Madora, beautifully sung and acted by Irina Lungu. Medora hears that Corrado has been killed and poisons herself. She is dying when Corrado arrives with Gulnara. Devasted when she finally dies, Corrado also commits suicide leaving the beautiful Gulnara in splendid isolation. As she stands their as the final curtain falls, I thought to myself how fortunate she was to now be free and rid of the lot of them. She represents strong, sensible womanhood and, indeed, strong sensible people.
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By Colin W on 1 Mar. 2015
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This was traditionally considered to be one of Verdi's weakest operas and is seldom performed. It certainly seems much more of a throwback than other works of this period in Verdi's output. However, it is a much better work than previously considered and is full of the most enjoyable music throughout. Acts 1 and 2 contain some real highlights, not least cabalettas by Corrado and Seid. But Act 3 is superb throughout with passages reminiscent of Trovatore and Righoletto.
The production is excellent with impressive sets and costumes in a traditional manner. The cast do Verdi proud especially Irina Lungu as Medora and Silvia Dalla Benetta as Gulnara. Luca Salsi is a top class Seid and Bruno Ribeiro really looks the part of Il Corsaro.
This is a must for lovers of Verdi.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 3 reviews
10 of 10 people found the following review helpful
A Gem 29 Jan. 2013
By Noam Eitan - Published on Amazon.com
This was shot over two performances in Busseto, in October 2008. Teatro Verdi in Busseto is a small but beautiful building inside the Pallavicino castle. This staging was captured on a Dynamic DVD when it played in Parma in 2004. It's a simple, traditional and beautiful staging that was scaled down for Busseto from Parma's much larger house (1200 seats in Parma vs. Busseto's 300). They could fit only 27 Parma orchestra players into the Busseto pit.

Director Lamberto Puggelli's staging employs a dramatically effective system to outline the action and convey a sense of time and space. The single set is a deck of a ship with sails, ropes and masts going up and down for scene changes. Costumes are rich and colorful. There is a thrilling battle scene between the pirates and the Turks. The staging and lighting are replete with wonderful and ingenious touches.

The four leads were relatively young and unknown singers at the time. They are all very good in every aspect, three are superb. The Parma choir, prepared by Martin Faggiani is as always first rate. Video direction by Tiziano Mancini is on the same high level of his work in Parma. The sound is fantastic. The PCM stereo track gives you the perspective of a seat deep in the house with some hall resonance. I have only a stereo setup and I played the DTS-HD 5.1 Master Audio surround sound track accidentally. I don't know what my stereo setup does with this track (a stereo mix-down or just the front speakers?) but what I heard was very intriguing. The perspective is from a front row seat, no hall resonance, but what surprised me was the realistic sense of presence. The singers were located in a three dimensional vocal space very clearly and there was something in the sound that was very natural, lighter and more pleasant on the ears. The orchestra had that distinctive sound coming from a pit - this is very rarely captured; it's quite special. I ended up choosing the surround track, something I have never done before. I would be curious to hear from someone with a surround setup how it compares with the stereo.

Overall this production is a pleasure to experience from start to finish, a real gem.
1 of 1 people found the following review helpful
Verdi's step-child 17 Sept. 2013
By Dr. John W. Rippon - Published on Amazon.com
Verified Purchase
Il Corsaro is the step-child in the Verdi canon of operas. I was completed to fulfill a contract obligation to the publisher Lucca who was about to sue Verdi for not fulfilling a contract previously agreed to. There were angry words exchanged. After receiving it Lucca farmed it out to a back-water opera house in Trieste. Verdi did not attend the premiere and the audience did not like the opera. Thereafter it had only a few performances and disappeared from view.
Even the Tutto Verdi series from the Teatro Regio di Parma produced this opera on the tiny stage of the Teatro Verdi in Busseto Verdi's home town. The theatre in Parma has a capacity of 1200 but in Busseto it's only 300 and the stage is miniscule. And who sang the roles? All newcomers to the operatic stage but on the whole they did quite well. And of course the downsized orchestra and chorus of Parma did very well.
The Corrado (Conrad in Byron's long long narrative poem) of Bruno Ribiero was quite exciting. He is young, handsome and looks like he could led a group of pirates and have a couple of women falling all over him. His tenor is pretty much a heroic type as of now, it is deep rich and powerful up and down the scale; there are some rough edges that will smooth out in time. The roll of Seid calls for a big bodied crusher of lesser men with a voice that carries to the next few buildings. We have it in the person of Luca Salsi. He certainly has the makings of a good Verdi baritone. He roughed-up some of the lyrics but with more vocal work he will smooth things out. The ladies of this opera were of a mixed bag. Irina Lungu has a rasp in her upper register and it is quite unpleasant; her mid-range is fine for the part of the long suffering Medora. The star of the show is supposed to be Gulnara and she certainly was. Silvia Dalla Benetta executed her passage work very well; trills, runs and declamation all of a piece. She has a good career ahead of her.
In English lit. class I remember reading much of Byron. The Corsair was one of them. I also remember he does go on and on. I didn't find the story interesting then, nor do I now. I agree and disagree as usual with my colleague reviewer John Gleeson. But I agree that even lesser Verdi is better than the best of most composers of the time e.g Pacini. It is interesting that the third act written in 1846 when Verdi was enthused about the story is better than Acts 1 & 2 written in 1848 when he given up on Corsaro but needed to fulfill has contract for Lucca. But even in these two acts there a some fine moments to be savored. For example the cabaletta of Gulnare "Ah conforto e sola speme" which as pointed out by reviewer John Gleeson is very fine music. So the work is a mixed bag. I'm glad to have a fine recording and will listen to it now and then.
2 of 4 people found the following review helpful
Il Corsaro or Il Cursaro 12 Nov. 2013
By Giles Bernard J. Hall - Published on Amazon.com
Verified Purchase
If I am not happy with a production or opera, I never write a critique, as I never like to give bad vibes.
BUT!! in this case I must. It is this sort of production that is enough to turn any prospective opera goer off opera for life.
It can be summed up in three phrases:
1. Verdi should have never written it.
2. Teatro di Parma should never have produced it.
3. And C Major should never have recorded it
For starters the orchestra is extremely thin in sound and the singers are just passable.
The staging is so, so. The Harem scene is extremely embarrassing both for those watching and for the women in it. Their singing is so weak you can hardly hear them. And it is quite clear the director did not know what to do with them. At one point I thought it was going to turn into a lesbian romp. That's how bad it was.
As much as I LOVE Verdi, I do think that this is his weakest work. The plot/libretto is ridiculous and the music is not up to the remainder of his works.
Save your money and move onto his more lustrous operas.
If you must have it for your collection, buy the CD version with Caballe, Carreras, J. Norman and Gardelli (1990) on Philips.
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