Verdi Opera Video

While all four solo performances are superb, one has only to sample the finale to Act I to discover what an electrifying team they make…If Pavarotti dominates by the sheer ardour of his singing, overall this is a totally gripping performance, unlikely to be surpassed on DVD. (The Penguin Guide)

This Rigoletto, filmed live at the Zurich Opera House in 2006, has three strong leads to recommend it. In the title role, Leo Nucci fully represents all of Rigoletto’s character traits and range of emotions—the hunchback’s lancing wit, fearfulness, and self-loathing when we first meet him and later, his obsessive need for revenge. Both Rigoletto’s sense of righteous triumph when he believes he’s got the Duke dead in the bag and his inconsolable grief at the drama’s end are palpable.

Filmed in 1983, this DVD captures the Metropolitan Opera’s sweeping sets, its army of authentically costumed singers, and a cast of glowing soloists led by Plácido Domingo, Mirella Freni, Grace Bumbry and Nicolai Ghiaurov. Verdi’s drama of private passions played out against a backdrop of intense political battles becomes extra vivid in this immense staging. This Met version, sung in Italian, includes the oft-omitted Fontainebleau scene, as well as the Prelude and Introduction.

National Theatre director Nicholas Hytner’s new staging of Verdi’s grandest – and arguably greatest – opera, Don Carlo, was the highlight of the 2007/2008 Royal Opera House season. This new production marked Rolando Villazón’s much anticipated, triumphant return to the house.

Verdi and his librettist had originally intended that The Masked Ball would be set in the late 18th Century setting of the court of Gustavus III of Sweden. However this was not acceptable to the censor and it was changed to an imagined colonial Boston. In this production the opera has been set in its intended Swedish setting and appropriate changes made to the text. The staging reflects the setting and the scenery has a deliberately heavy feel which accentuates the sombre atmosphere of the opera. Nonetheless, all sets and costumes are lavish – clearly the ‘Met’ does not penny pinch with its productions. In particular the final scene "A large and sumptuously decorated ballroom" accurately reflects the description and the fancy dress costumes are really splendid.

This time-honoured production of Verdi's final opera, one that has seen all the greatest Falstaffs of the last four decades hold court at its convincingly shabby Garter Inn and upset the decent folk of its lovingly recreated Tudor Windsor, marked the first appearance at the Met of producer and designer Franco Zeffirelli in March 1964. The Anglophile Zeffirelli had by then made his Shakespearean reputation with a revelatory Romeo and Juliet in London - his films of this play and of The Taming of the Shrew were shortly to follow - as well as with a similar production of Falstaff at Covent Garden, and the attention to visual and psychological detail displayed in his Met Falstaff won it high praise: “a milestone in the history of operatic production in this city" was the judgement of the New York Herald Tribune.

It’s a traditional production, in monumental sets. Haitink’s conducting is also on the monumental side, but it feels appropriate to the staging. It’s not insignificant that this production was last seen during Haitink’s farewell to the House in 2002. Luis Lima is a charming Carlos, a bit throaty, but there is an innocence about his acting that wins the audience over. Ileana Cotrubas’ Elisabetta is a wonderfully fragile one. Giorgio Zancanaro’s wonderfully aristocratic singing makes for an excellent Posa. Bruna Baglioni is a little matronly as Eboli, as are certain women in the chorus. Robert Lloyd is first and foremost a superlative actor. Philip’s response to Posa’s pleas are masterly, especially his eyes. (Mark Pullinger)

Sir Georg Solti conducts an outstanding cast - led by Kiri Te Kanawa in one of her most celebrated stage roles - in Elijah Moshinsky's acclaimed production from the Royal Opera House, Covent Garden. Michael Yeargan's designs beautifully evoke fourteenth-century Genoa - the setting for one of Verdi's most heartfelt operas of public and private passion.

Jon Vickers one of the great Othellos of the 20th century brings his remarkable vocal power and dramatic intensity to the role, with Renata Scotto as Desdemona at the height of her powers and Cornell MacNeil's manacing Iago in one of the baritone's greatest roles. James Levine conducts the Metropolitan Opera Orchestra and Chorus in one of the most thrilling performances of the decade.

Decca is proud to present this unique recording of Rigoletto. The only Rigoletto stage production on film featuring Luciano Pavarotti, this performance of one of Verdi's best-loved operas was discovered in the Metropolitan Opera Archives and is available here for the first time. Recorded in 1981, it presents Pavarotti at the peak of his career, supported by an outstanding cast that includes Louis Quilico in the title role, Christine Eda-Pierre as Gilda, Ara Berberian as Sparafucile, and Isola Jones as Maddalena, with Met Music Director James Levine on the podium.