Freni, Mirella

Puccini - Madama Butterfly

Of all Puccini's major operas, the intimate tragedy of Madama Butterfly is least in need of elaborate staging and might therefore benefit most from the close scrutiny of film. The story is domestic, the setting Spartan, the incidental characters kept to a minimum. This 1974 version, however, demonstrates that Butterfly still needs a healthy injection of proscenium arch melodrama. Director Jean-Pierre Ponelle's production strives for realism but remains unfortunately studio-bound, having neither the benefit of location filming nor the heightened reality of an opera stage. The exterior is a perpetually fog-shrouded heath of indeterminate locale; the interior is cramped and unadorned. The setting is just too prosaic to contain the epic emotions of grand opera.

Thankfully, the cast is a superb one, headed by Plácido Domingo's rakish Pinkerton and Mirella Freni's rubicund Butterfly. Their singing is incomparable, as is Herbert von Karajan's musical direction of the Vienna Philharmonic. The singers mime to prerecorded music, which is occasionally disconcerting since when film demands close-ups, opera provides broad gestures. Musically, this Butterfly is impeccable. Visually it adds nothing that could not be seen to better effect in a stage version. --Mark Walker

Mozart - Le Nozze di Figaro (The Marriage of Figaro)

Mozart's Marriage of Figaro is a comedy whose dark undertones explore the blurred boundaries between dying feudalism and emerging Enlightenment. Among dozens of fine Figaros on CD and DVD, few are as finely sung as this one, filmed in 1976 to a soundtrack recorded the previous year.

Herman Prey's Figaro is admirably sung in a firm baritone and aptly characterized. So too, is his antagonist, Dietrich Fischer-Dieskau as the Count perpetually frustrated by the scheming wiles of Figaro and Susanna, here the perky Mirella Freni, who sings and acts like a dream. The Countess is creamy-voiced Kiri Te Kanawa, and the Cherubino, Maria Ewing, looks just like the horny, teenaged page she's supposed to be. The all-star leads are complemented by worthy supporting singers, the Vienna Philharmonic at the top of its form, and the experienced Mozartian, Karl Böhm conducting a stylishly fleet performance.

The problematic visuals though, don't match the musical attributes of this Figaro. Director Jean-Pierre Ponnelle says film techniques of editing and special effects permit added musical and interpretive components. So we get nervously irrelevant camera movements, distorted close-ups, jump-cuts that place singers in impossible places during arias, and--most distracting of all--arias on the soundtrack while the "singer" stares close-mouthed at walls, ceilings, and furnishings. Try Te Kanawa's beautifully sung "Porgi amor" to see how this distracting technique subverts the music, rather than "complementing" it. Of course, this may not bother many but others will prefer to listen to the glorious soundtrack and give Ponnelle's directorial hubris a pass. --Dan Davis

Giacomo Puccini - La Bohème / Francesca Zambello · Tiziano Severini - M. Freni · L. Pavarotti · San Francisco Opera

In 1989 when this production was taped, Luciano Pavarotti and Mirella Freni had already enjoyed long, distinguished careers. In other words, they were considerably older than La Bohème's romantic young couple, Mimi and Rodolfo. If you find this consideration important, it might be wise to skip this Bohème and invest instead in the bright, youthful, and energetic Sydney Opera production or the visually striking 1998 Metropolitan Opera production. So far, La Bohème has fared better on DVD than any other opera, and the San Francisco Bohème faces serious competition.

But this is a vintage production deserving attention on its own merits. As a matter of survival, veteran singers learn how to make experience compensate for the loss of youth, and Freni and Pavarotti are outstanding examples of how this can be done. They are aided by a sensitive stage director, a visual treatment responsive to the opera's changing moods, and an expert supporting cast deeply involved with the story and the music. They fit convincingly in roles with which they have been living for decades; both are still in good vocal condition, and the emotions are convincingly conveyed. In the supporting cast, note the excellent performances of Gino Quilico and Nicolai Ghiaurov. --Joe McLellan

Puccini's bittersweet opera of high-spirited bohemians and the doomed love between Rodolfo, the idealistic poet and Mimi, the consumptive flower-maker, is a beautifully balanced series of tableaux depicting the infectious joie de vivre of youth and the tragic waste of disease and separation. The legendary and incomparable partnership of Mirella Freni and Luciano Pavarotti as the two lovers has been captured in this special live recording from stage of the San Francisco Opera. Brian Large has adapted Francesca Zambello's production for the video, further illuminating the fascinating interaction of Puccini's deeply human characters. Gino Quilico sings Marcello, the colorful and moody painter, whose tempestuous relationship with the flirtatious Musetta (sung by Sandra Pacetti), comically mirrors the more profound love of Rodolfo and Mimi. Nicolai Ghiaurov sings Colline. "Luciano Pavarotti and Mirella Freni turned in incandescent performances as Puccini's young lovers."--San Francisco Times

Verdi - Ernani / Domingo, Freni, Bruson, Ghiaurov, Muti, La Scala Opera

In this thrilling performance at La Scala, Plácido Domingo and Mirella Freni show why, when they were in the prime of their careers, they could carry even the most melodramatic of Verdi vehicles on their shoulders. As Donna Elvira, whom a trio of men has designs on for various honest and sordid reasons, Freni is a wellspring of ardent passion that sweeps the audience along, while Domingo's title hero is an equally inspired creation; their singing during the tragic finale underscores its worth as one of Verdi's most moving denouements.

Luca Ronconi's functional production isn't particularly inspired yet manages to conjure the necessary atmosphere. Obviously, it's Verdi's vivid music that carries the day, with Riccardo Muti conducting the score to a fare-thee-well, from the subdued and mood-setting prelude to the crackling choruses and the beautifully handled ending. Ably abetting Freni and Domingo with their full-throated portrayals are the other male leads, Renato Bruson (Don Carlo) and Nicolai Ghiaurov (Don Ruy), creating a quartet of masterly Verdi singers not often seen and heard on the same stage. --Kevin Filipski

This outstanding production of Verdi's tragic opera stars four of the world's great Verdi singers; Placido Domingo, Renato Bruson, Nicolai Ghiaurov and Mirella Freni as the gentle heroine desired by these three rivals. They have been described as "possibly the best quartet of singers any opera house has managed to assemble this year" - The Times. The cast give an impassioned performance under the baton of Riccardo Muti, an acclaimed interpreter of Verdi. Based on Victor Hugo's play, this violent and sombre story of frustrated passion, and ambition thwarted and rewarded, is set by the composer to a succession of irresistible tunes, unsurpassed even in his mature works. The opera's dramatic impetus is simply unstoppable.

Verdi - Don Carlo (remastered)

Bizet - Carmen

Bizet's tale of the fiery gypsy and her naive, ultimately murderous lover, is an operatic staple but few versions boast such well-acted, brilliantly sung leading roles. Grace Bumbry's Carmen is a beautiful, witty temptress, amused at the deliriums she induces. Bumbry's facial expressions and body movements help create a nuanced character, and her singing is compelling, especially effective in the big moments; the Habanera done with languorous flirtatiousness, the Seguedilla entrancing.

One of opera's greatest singing actors, Vickers portrays the unworldly soldier of Act One before morphing into the tortured hero torn between love and duty of Act Two and finally, the insane outlaw of the finale. He and Bumbry strike sparks in the tavern scene and his "Flower" aria is the vocal and emotional highlight, begun in a throaty half-voice and building into an overwhelmingly intense cri de coeur. Mirelli Freni's Micaela, the village girl Don Jose abandons for Carmen, acts and sings her arias with vocal beauty and charm to burn. Justino Diaz is a straightforward Escamillo in a part that wants more flair and self-centered smugness. Smaller roles are adequately done.

Herbert Von Karajan directed and conducts. He's seen during the Prelude and the entr'actes in his closed-eyes mode of conducting. This Munich-made film is based on 1967 Salzburg Festival performances. It's without obvious lip-synch problems, but busy camera work indulges in many meaningless close-ups, including a shoe-top view of von Karajan's hands. Not as cohesive as Kleiber's DVD or Levine's MET production, but a must-have for Bumbry and Vickers. --Dan Davis

Puccini - La Boheme

Franco Zeffirelli's 1963 Milan production of La Bohème, preserved in this 1965 film, provides a richly satisfying take on Puccini's much-loved romantic tragedy. The staging is opulent, not least in the way Zeffirelli opens up the Café Momus and turns it into a warm, vibrant haven for the bohemians and their followers. But it's the relationships that really matter here. Puccini's score--conducted with restrained passion by Herbert von Karajan--develops in a wonderfully linear way, with some of his most intensely moving arias and duets underpinning the evolution of the bohemian artists, particularly Rodolfo and Marcello, from immature egotists to rounded human beings, touched by tragedy.

The film does look dated now--Mirella Freni's Mimi, sung with moving clarity, has the doe-eyed look of a 1960s pop star and the camera work is a tad unsophisticated--but the singing still puts the listener through the wringer. Gianni Raimondi's Rodolfo ("Che gelida manina") struggles manfully to come to terms with his emotional shortcomings, and Adriana Martino (Musetta) has some fine comic moments before playing her vital part in the overwhelming sadness of the final scenes. Soul food for the tragically inclined. --Piers Ford

Verdi - Otello / Vickers, Freni, Glossop, van Dam, Senechal, Bottion, Malagu, Macchi, von Karajan

Verdi's Otello is a larger-than-life role, calling for a tenor of Wagnerian vocal power and stage presence. In the late 20th century, two singers fully met its specifications--Jon Vickers and Placido Domingo. Both were filmed in video productions of unusual quality, and a choice between them boils down, ultimately, to a question of personal taste. In this 1973 production, Vickers is given an effective context to set off his powerful, carefully considered characterization. Mirella Freni is an appealing Desdemona, Peter Glossop is a credibly vicious Iago, and the cast is solid right down to the very young future star Jose van Dam in a small supporting role. The chorus and orchestra rank with the world's best.

Herbert von Karajan's direction, musical and theatrical, is a source of both strength and shortcomings. His power and prestige allowed him to assemble stellar casts and to scoff at budget limitations. He was also able to take the production beyond the opera house's visual limitations with on-location filming, an opportunity that is exploited with powerful impact in the storm-at-sea scene that opens this Otello. His personal musical taste sometimes tended to favor polish at the expense of expressive intensity. But he does present Verdi's score intact, without the cuts made in the 1986 cinematic production directed by Franco Zeffirelli and starring Domingo. Personally, I find the Zeffirelli Otello dramatically compelling, but Von Karajan's--or Georg Solti's 1992 version with Domingo and Kiri Te Kanawa--is closer to what Verdi had in mind. --Joe McLellan

Madama Butterfly / Opera Australia, Cheryl Barker, Jay Hunter Morris

An American lieutenant marries a beautiful young geisha, to the dismay of her family. Shortly after the wedding the lieutenant departs for America, and his wife bears him a child, alone.

Three years later she excitedly awaits his return, only to find to her shock and despair, that he is returning with an American wife.

With a heart-rending love story and a brilliant score, Madama Butterfly is one of the most beloved opera classics. '(Cheryl Barker) broke through the sound barrier that divides fine soprano from world star'
The Bulletin

'Future casts have a lot to live up to.' The Australian

'Above all, the coup de theatre is the brilliantly coloured costumes...in the love duet, the sky blazes with millions of starts, lighted candles float on water.' The Bulletin

Conductor: Patrick Summers
Director: Moffatt Oxenbould
Featuring: Cheryl Barker, Jay Hunter Morris, Douglas McNicol, Ingrid Silveus
Opera Australia Chorus
Australian Opera and Ballet Orchestra

Puccini - La Boheme

Franco Zeffirelli's 1963 Milan production of La Bohème, preserved in this 1965 film, provides a richly satisfying take on Puccini's much-loved romantic tragedy. The staging is opulent, not least in the way Zeffirelli opens up the Café Momus and turns it into a warm, vibrant haven for the bohemians and their followers. But it's the relationships that really matter here. Puccini's score--conducted with restrained passion by Herbert von Karajan--develops in a wonderfully linear way, with some of his most intensely moving arias and duets underpinning the evolution of the bohemian artists, particularly Rodolfo and Marcello, from immature egotists to rounded human beings, touched by tragedy.

The film does look dated now--Mirella Freni's Mimi, sung with moving clarity, has the doe-eyed look of a 1960s pop star and the camera work is a tad unsophisticated--but the singing still puts the listener through the wringer. Gianni Raimondi's Rodolfo ("Che gelida manina") struggles manfully to come to terms with his emotional shortcomings, and Adriana Martino (Musetta) has some fine comic moments before playing her vital part in the overwhelming sadness of the final scenes. Soul food for the tragically inclined. --Piers Ford