Large, Brian

Tchaikovsky - Eugene Onegin / Fleming, Vargas, Hvorostovsky, Gergiev, Carsen [Metropolitan Opera 2007]

This set, filmed at the Metropolitan Opera's February 2007 performances of Tchaikovsky's most popular opera, has just about everything going for it: an all-star cast in peak form, a great orchestra led by today's leading Russian conductor, and a striking stage production whose minimalist, often stark, sets manage to superbly suit this most Romantic of operas.

Drawn from Pushkin's classic, the opera tightly focuses on the story of Tatiana, a naive young girl who declares her love for a dashing rake (Onegin) who rejects her overtures. His arrogance surfaces leads to flirting with his best friend's fiancée and then to killing him in a duel. Plagued by remorse, a superficially reformed but still impossibly self-centered Onegin meets Tatiana at a ball, but now the childish country bumpkin is the glamorous wife of a Prince. He declares his love but she rejects him and leaves him alone, a solitary, tragic figure.

Renée Fleming's Tatiana is a triumph, her gorgeous soprano voice, intense acting and precise characterization make the complex young woman come alive. Her "Letter Scene," in which the singer must reveal the innermost thoughts of a confused soul, is as good as it gets, as Fleming fully reveals the young woman's joyous hopes of requited love and also her fears of rejection. In the final act, she's still attracted to the dashing Onegin but resolved to preserve her marriage. In the title role, Dmitri Hvorostovsky is her equal; his firm baritone fits the music like a velvet glove and his acting matches Fleming's in its intensity. He's especially fine in his last-act monologue, bursting with despair and passion. Tchaikovsky gave the work's most beautiful arias to Lenski, Onegin's friend. Ramon Vargas' mellifluous tenor is well-suited to the lyricism of Lenski's Act One love aria and to the poignant aria before his duel with Onegin. Lenski's anger at his friend in the ball scene is palpably menacing. As Olga, Tatiana's high-spirited sister and Lenski's fiancée, Elena Zaremba is fully up to the rest of the cast, her rich mezzo and pointed phrasing a strong point. Sergei Aleksaskin's Prince Gremin is a dignified presence, Larisa Schevchenko as Tatiana's old nurse is convincing, and the smaller roles are well sung and acted. Jean-Paul Fouchécourt is not only in excellent voice in the beautiful aria of Triquet, Tatiana's French tutor, but manages to invest his song with an apt touch of parody as well. Valery Gergiev's conducting is a major asset, and the MET Orchestra is in terrific form, with special kudos due to the soulful clarinet solos that are so important in the musical texture.

Producer Robert Carson imbues the work with Romantic glow and Michael Levine's spare sets are far more effective than one might think. The stage is strewn with leaves and framed by textured rods doing duty as birch trees in Act One; the ball scene similarly framed by a rectangle of chairs and side tables, both sets analogues for the character's imprisonment in their unbridled emotions. Video director Brian Large keeps his cameras well-focused on the action, to complete an Onegin that's the DVD version to get. --Dan Davis

Renée Fleming and Dmitri Hvorostovsky triumph in Tchaikovsky's operatic masterpiece Eugene Onegin, filmed live at the Metropolitan Opera. Their onstage chemistry, emotional singing and outstanding acting make this a very special production. Valery Gergiev, Russia's greatest living conductor, leads Russia's classic opera, with a thrilling account of Tchaikovsky's most intense and passionate score. Robert Carsen's evocative staging is striking and beautiful and highlights the personal drama at the heart of Pushkin's tragic tale of young love unrequited. The opera is introduced on this DVD by the great Russian dancer Mikhail Barishnikov. DVD extras include: Eugene Onegin "In Rehearsal," and "Backstage at The Met," a short documentary presented by Beverly Sills, who talks in person to Fleming and Hvorostovsky about the opera and their working relationship. Filmed in Hi-Definition Widescreen.

Three Tenors: In Concert

Verdi - Aida / Levine, Domingo, Millo, Metropolitan Opera

Bizet - Carmen / Levine, Baltsa, Carreras, Metropolitan Opera

Wagner - Der Ring des Nibelungen / Levine, Metropolitan Opera (Complete Ring Cycle)

Don Quixote / Baryshnikov, Harvey, American Ballet Theatre

Mikhail Baryshnikov's sparkling full-length production of Don Quixote captures all the excitement, Spanish color, and humor of Cervantes' original masterpiece. It is one of the most popular and joyful ballets surviving from the imperial Russian ballet's repertory. The famous virtuosic pas de deux is danced in this performance by Baryshnikov "like a dream," according to the New York Post, "a madcap bravado which combined with his pure classicism gives his dancing an edge of genius." His partner, Cynthia Harvey, who takes the part of Kitri, was reviewed in the New York press as possessing "a clear line and splendid grace that grow more wonderful on each viewing." American Ballet Theatre was ecstatically received by the New York press for this performance. The New York Times described how "the dancers had the audience gasping," while the New York Post felt that the company had "never looked better. Dancing flows out of the Ballet with a boisterous beauty."

Verdi - Otello / Domingo, Fleming, Morris, Croft, Levine, Moshinsky, Metropolitan Opera

Donizetti - L'Elisir d'Amore

It would be hard to imagine a better performance of Donizetti's comic masterpiece. If there was one role that ideally suited Luciano Pavarotti's voice and stage personality, it was Nemorino, the impoverished and not-very-bright peasant who worships the village's prettiest and richest young woman from a distance, is swindled by a traveling vendor of "miracle" medicines, but wins her hand by dumb luck. The story has comedy, pathos, and a put-down of Wagner's Tristan und Isolde (or at least the Tristan story) written long before Wagner composed it.

Kathleen Battle is not only a wonderful singer and convincing actress; as Adina, she is pretty enough to make Nemorino's infatuation totally credible. Juan Pons struts convincingly as Belcore, Nemorino's self-important rival, and Enzo Dara is properly spectacular as Dr. Dulcamara, who sells Nemorino the magic potion guaranteed to improve his love life, or at least to get him drunk. The melodies in this opera include some of the best ever written, and James Levine, his extraordinary orchestra, and his wonderful chorus know exactly what to do with them. Everything comes together in this production to make it one of the best opera DVDs available. --Joe McLellan

Mozart - Die Zauberflöte (The Magic Flute) / Levine, Battle, Serra, Metropolitan Opera

Horowitz in Moscow