- Enjoy £1.00 reward to spend on movies or TV on Amazon Video when you purchase a DVD or Blu-ray offered by Amazon.co.uk. A maximum of 1 reward per customer applies. UK customers only. Offer ends at 23:59 GMT on Wednesday, December 20, 2017 Here's how (terms and conditions apply)
Korngold: Die Tote Stadt (Berlin 1983) (James King/ Karan Armstrong/ William Murray/ Margit Neubauer/ Donald Grobe/ Heinrich Hollreiser/ Götz Friedrich) (Arthaus: 101656) [DVD] [NTSC] 
- Choose from over 13,000 locations across the UK
- Prime members get unlimited deliveries at no additional cost
- Find your preferred location and add it to your address book
- Dispatch to this address when you check out
Special offers and product promotions
What other items do customers buy after viewing this item?
Customers who bought this item also bought
LIVE RECORDING FROM THE DEUTSCHE OPER BERLIN, 1983
Paul JAMES KING
Marietta / Maries Apparition KARAN ARMSTRONG
Frank WILLIAM MURRAY
Brigitta MARGIT NEUBAUER
Victorin DONALD GROBE
DEUTSCHE OPER BERLIN
Conducted by HEINRICH HOLLREISER
Stage Directed by GÖTZ FRIEDRICH
Set by ANDREAS REINHARDT
Of all the successful composers of opera in the 1920s, it is perhaps Erich Wolfgang Korngold (18971957) whose career took the most surprising turn following the banning of his works as degenerate in Germany. In 1934 he was invited by Max Reinhardt to Hollywood, where Korngold turned the new genre of film music on its head. No composer before or since ever achieved such a prominent position within film production. Instead of the director or producer deciding on a scenes musical accompaniment, it was Korngolds score that determined the timings and dramatic sequences of the camera positions. Even today Korngold is best known as a composer of film scores. Despite the many successful performances of works such as his violin concerto and his chamber music, today only Die tote Stadt has survived as a rarity on the programmes of the worlds major and medium-sized opera houses. Götz Friedrichs production played no small part in this survival, for not only was it shown in Berlin and Vienna, it was also shipped to Los Angeles and more recently, in 1995, loaned to Ghent, to the theatre which in 1967 was bold enough to stage only the second production of the work after the Second World War.
If Berlins opera devotees were asked to name the most thrilling, most memorable productions in any of the citys three houses during the last twenty-five years, hardly anyone would hesitate to include Götz Friedrichs 1983 Deutsche Oper staging of Erich Wolfgang Korngolds opera Die tote Stadt on the list. That production starring Friedrichs wife, Karan Armstrong, as Marietta and James King as Paul with breathtakingly beautiful sets by Andreas Reinhardt that captured the gloomy, morbid atmosphere of old Brügge perfectly is justly considered a legend. --OPERA NEWS, 2004
[Götz Friedrich's] richly atmospheric production, conducted by Heinrich Hollreiser and filmed by Brian Large, makes a strong case for the piece. James King is a believable Paul, and Friedrich, seated at his office desk gives a lucid spoken introduction to an opera that permanently hovers on the border between dream and reality. --Andrew Clark, Financial Times
Götz Friedrich's powerful staging of Korngold's fantasy is performed with sumptuousness. --Malcolm Hayes, BBC Music Magazine
Top customer reviews
Of the three versions of this opera available on DVD I would recommend both this version and the Opera du Rhin version. The Opera du Rhin production is very dramatic at times, which I like, and it is very well performed. Unfortunately the production is rather unclear - you are not always sure what an earth is going on. The Berlin Opera production on the other hand is very clear, quite traditional and follows very well the spirit of Georges Rodenbach's original novel 'Bruges-la-morte'. Both prductions change Korngold's improbable and anti-climatic happy ending. To me the changed ending seems preferable ( Korngold had himself changed Georges Rodenbach's end).
The Berlin Opera performance is very well sung and acted. It was filmed at the theatre but without an audience, giving the recording team maximum flexibility, so that the audio and video quality are excellent for time (1983).
One to own.
Die Tote Stadt is a psychological study that is connected very closely with the nature of a city, in this case Bruges, but this is just one element in a deeper conflict that Paul has to reconcile between the past and the present, between the living and the dead, between an ideal and the reality. Whether it needs additional emphasis or not, Es Devlin's designs for Kasper Holten's production emphatically puts both Paul's room and the city, as a reflection of his inner mindset, right up there on the stage. It looks terrific, the room expressionistically designed with oppressive angles, littered in an obsessively organised fashion with pictures, portraits, mementos and shrine-boxes dedicated to Marie. At the back, tilted, but almost at right-angle to the stage, a vertiginous section of the city is revealed, bearing down on Paul. Using an actor to play the ghost of Marie may not be strictly necessary either, but again having her present on the stage with her lookalike Marietta does make Paul's dilemma all the more real.
If there are any questions about Kasper Holten employing such techniques, they are at least borne out in how they fit with Korngold's musical arrangements for Die Tote Stadt. It's highly demanding of its performers, particularly the role of Marietta, which is pitched at the level of a Straussian soprano. Camilla Nylund has everything that is required here, the range, the stamina, and a necessary beauty in the colour of timbre and expression. She is simply phenomenal. This is a great performance. Klaus Florian Vogt's high sweet tenor might not seem like the ideal voice for the equally challenging role of Paul and he does struggle sometimes at the lower end of the tessitura. He brings a glorious soaring quality however to those ecstatic moments and a sense of vulnerability to his character that is not there, for example, in Torsten Kerl's strident singing of the role on the 2001 Opéra National du Rhin recording.
The Opus Arte release of the Finnish National Opera's 2010 production is released on DVD only, spread across a 2-disc set. The source is certainly not HD, but even in Standard Definition the image quality is somewhat disappointing, lacking real clarity and even appearing to be a little juddery in its NTSC transfer. It does however represent the light, colour and detail of the darkened stage production reasonably well. The LPCM stereo and DTS Surround 5.1 audio tracks don't have the depth of a high resolution recording either, the music not really lifting out or revealing the detail and colour of the orchestration, but that could also be down to the performance which doesn't seem to express the full quality of Korngold's lush score. The only extra feature on the disc is a Cast Gallery. Subtitles are in English, French, German, Japanese and Korean.
Would you like to see more reviews about this item?
Most recent customer reviews
Look for similar items by category