Zancanaro, Giorgio

Verdi - La Traviata / Gruberova, Shicoff, Zancanaro, Rizzi, La Fenice

La Traviata was recorded at what was one of Venice's most exquisite 18th-century opera houses, La Fenice, tragically destroyed by fire in 1996, and now rebuilt. This glorious house is where La Traviata was premiered in 1853. In this memorable performance with the orchestra and chorus of La Fenice and Balletto di Toscana, Slovak soprano Edita Gruberova takes the leading role of Violetta, the tragic heroine, persuaded by Alfredo's father, Giorgio, to sacrifice her happiness with Alfredo (Neil Shicoff) for the sake of family honor.

Puccini - Madama Butterfly / Maazel, Hayashi, Kim, Dvorsky, Teatro Alla Scala

What distinguishes this excellent production of Puccini's Madama Butterfly from others is its intensely Japanese flavor. La Scala engaged a Japanese director, and he adopted many conventions of Japanese theater, including the dark-clad stagehands, whom the audience is supposed to not notice, a Zen-style rock garden rather than the profusion of blossoms usually seen, and the use of red fabrics (ribbon and rug) to symbolize the blood in the suicide scene.

The singing and acting often has a Japanese restraint (unexpected but not unwelcome in an Italian opera house). The Japanese Cio-Cio-San (Hayashi Yasuko) and Korean Suzuki (Hack-Nam Kim) give a special authenticity to the casting. An Italian singer, Ernesto Gavazzi, has the role of the slimy marriage broker, Goro, but this works quite well because Goro has adopted Western mannerisms. George Dvorsky is a convincing Pinkerton, Giorgio Zancanaro is a sympathetic Sharpless, and the singing is good throughout, though seldom electrifying. --Joe McLellan

Madama Butterfly is one of the most-performed stage works in the world and is considered the pivotal opera of Puccini's career. This exquisite and highly acclaimed production from La Scala presents the tragic tale of a woman's relentless struggle within a traditionally conformist society and a loveless marriage. Japanese director Keita Asari cast two of the Far East's leading singers in the coveted female roles and collaborated with Japanese specialists on lighting, choreography and design. The result is a uniquely stylized and authentic production, subdued like an Oriental watercolor on a silk canvas, beautifully bringing to life Madama Butterfly's metamorphosis. Lorin Maazel conducts the Chorus and Orchestra of Teatro Alla Scala, Milan.

Gioachino Rossini - William Tell / Luca Ronconi · Riccardo Muti · G. Zancanaro · C. Merritt · Teatro alla Scala

In its first video recording, the unfamiliar opera that follows the ultra-familiar overture is presented uncut--four hours of music, which seem shorter thanks to powerful conducting, virtuoso singing, and imaginative staging that often suggests more than it actually shows. Instead of scenery, a sense of time and place is evoked by projections of Swiss scenes on three large screens, and well-used props and costumes (of Rossini's era, not the Middle Ages where the action is usually set). The music is uneven but always effective and often splendid. The solo singers are good--particularly Chris Merritt in a very challenging role--and the orchestra and chorus are superb. --Joe McLellan

La Scala triumphs with its production of Rossini's final stagework, "William Tell." The story of William Tell, who had prompted the Swiss to overthrow their Hapsburg rulers, entwines the tale of Arnold and Matilda, a villager and a Hapsburg princess torn between their love for one another and their loyalty to their countries. Chris Merritt performs the notoriously demanding role of Arnold, and is matched by a superlative cast in equally challenging roles. Riccardo Muti leads an inspired performance from the orchestra, particularly during the famous overture. Using the uncut critical edition, this dramatic interpretation of "William Tell" is performed in a new Italian translation.

Verdi - I Vespri Siciliani

I Vespri Siciliani ("The Sicilian Vespers") dates from 1855, immediately after the composition of Verdi's three most popular operas, Rigoletto, Il trovatore and La traviata. It marks a crucial stage in his artistic development but has not been very popular for various reasons: it was composed, in French, for a premiere in Paris, but is now usually sung in a slightly ill-fitting Italian translation; it is expensive to produce (including a lavish ballet, which was mandatory for Paris productions); and it marked a change to Verdi's later style, which has greater depth but less mass appeal. Its first video recording--visually lavish and generally well-sung--includes all the ballet music, which is often reduced or omitted, and (for reasons that are not entirely clear--maybe a preference for 19th-century costumes) updates the action from the 13th century to the Napoleonic era. Riccardo Muti conducts with his usual energy and polish, and he has a great orchestra and chorus. A production in French would be welcome, if (improbably) the right voices could be found. --Joe McLellan

Giuseppe Verdi's "I Vespri Siciliani" epitomizes the elegant style of the Paris Opera. Set in Sicily at the twilight of the French occupation, the opera swirls with intimate ensembles, splendid public scenes, and heroic public choruses. Under the direction of Riccardo Muti, the La Scala orchestra delivers a blazing tour de force in the large ensemble scenes and sensitive intimacy to the quieter moments. An excellent cast features soprano Cheryl Studer as Elena and tenor Chris Merritt as Arrigo. In this extraordinary La Scala production, the rarely seen third-act "Ballet of the Four Seasons" is superbly danced by superstars Carla Fracci and Wayne Eagling.

Rossini - Guglielmo Tell / Zancanaro, Merritt, Studer, Surjan, d¿Intino, Muti, La Scala Opera

Riccardo Muti conducts a fine cast led by Giorgio Zancanaro in the title role of Rossini's towering and opulent last opera with the Corps de Ballet, Orchestra and Chorus of Teatro alla Scala. This performance uses a new Italian translation, taken from the uncut critical edition of William Tell.

Picture Format: 4:3
Sound Format: Dolby Stereo
Subtitles: GB
Sung in Italian

Don Carlo [Region 2]

Verdi - Attila / Jérôme Savary · Riccardo Muti · Samuel Ramey · Teatro alla Scala

A brilliant production has been lavished on this relatively early and seldom-produced Verdi masterpiece. The story of various efforts (ultimately successful) to assassinate Attila the Hun after his conquest of Rome inspired Verdi to compose music of considerable energy. The theme of foreign powers who dominate Italy being punished was especially close to his heart. La Scala assembled a cast equal to his music's strenuous demands. The star, unquestionably, is Samuel Ramey in the title role, but he is supported by a first-class cast and a chorus and orchestra who are completely at home in this music. The fact that some of the less familiar Italian operas reached the DVD format so early in its existence is a tribute to Muti's devotion to unjustly neglected works. So is the power and precision of this performance. --Joe McLellan

Giuseppe Verdi's "Attila" was first staged just prior to the European revolutions of 1848. To operagoers, art seemed to mirror life, as the Roman Empire, overrun with barbarians, was an obvious symbol of 19th-century Italy under foreign domination. The role of Attila, one of Verdi's finest characters, requires a tremendous leading singer and actor, and world-renowned bass Samuel Ramey gives a peerless performance. As the courageous maiden who kills the tyrant with his own sword, soprano Cheryl Studer is forceful, but with vocal gentleness and expression. In this vibrant, sumptuous La Scala production conducted by Riccardo Muti, "Attila" emerges in all its dramatic and musical greatness.

La Traviata [Region 2]