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Customer Review

10 of 16 people found the following review helpful
1.0 out of 5 stars How do I say this?, 25 Jun. 2010
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This review is from: Puccini: Madame Butterfly [DVD] [1995] [1997] (DVD)
I bought this as part of a three Puccini deal from Amazon. The Terfel Tosca (oh yes, yes, yes!). A passable La Boheme ( I can't remember which one, I have three) and this. Speaking totally personally you understand, I believe that Opera composers are geniuses. I believe that they have/had in their humungous brains an exact idea of how the Opera should happen. They design it for the stage, and they dictate exactly how it should unfold. To paraphrase at least two respected sopranos featured on BBC recently 'the music dictates every movement, every gesture'. So, if you want to change anything, if you think you can improve on the original, if you think you can 'bring the message up to date', you really do have to justify that. On the DVD case you really do have to say 'I, Mr Massive Ego, do not think that this guy Puccini really got it right, so I have mucked it about and turned it into a film, oh, and with subtitles to explain the difficult bits, and added archive footage to fill in the boring bits.'

And, by the way, casting a Chinese woman to play a Japanese woman, does not add authenticity, only Hollywood cannot tell the difference.

But that is just me.
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Showing 1-3 of 3 posts in this discussion
Initial post: 28 Nov 2010 07:48:40 GMT
PRogers says:
Nanome has a point , albeit not put accross very well. The movie is so expansive with constant movement that the music/opera becomes secondary. I did not like this movie as an opera. I watched it several times and enjoyed the background music a lot...enough said

Posted on 11 Jul 2011 01:20:12 BDT
Claire Bear says:
Do you want to sell me your copy then? ;-)

Posted on 23 Jan 2012 19:28:38 GMT
Last edited by the author on 23 Jan 2012 19:34:27 GMT
Dave A says:
Oh how I agree with you about composers knowing what they were doing. To cite three more examples, the Ricordi libretto for Turandot describes Act I as: "The walls of the Great Violet City: the Imperial City", not a Chinese restaurant; Gianni Schicchi is set clearly in Florence on the 1st of September 1299, not a Victorian villa; and Tosca is set in Rome on June 17th 1800, not at the time of Mussolini. And I could go on
So if any producers or designers read this, just remember: first the composer and the music, then the librettist and the words (even if slightly absurd) then the production.
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