JANACEK House of the Dead Boulez DVD-VI

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LEOS JANACEK

Aus einem Totenhaus
From the House of the Dead
De la maison des morts · Z mrtvého domu
Olaf Bär · Eric Stocklossa · Stefan Margita
Heinz Zednik · John Mark Ainsley
Arnold Schoenberg Chor
Mahler Chamber Orchestra · Pierre Boulez
Staged by Patrice Chéreau
Int. Release 10 Mar. 2008
1 DVD-Video
DVD-VIDEO NTSC 0440 073 4426 2 GH
STEREO: PCM / SURROUND: DTS 5.1 · Picture Format: 16:9
Filmed in High Definition · Subtitles: German/English/French/Spanish
A Production of the 2007 Vienna Festival, in co-producion with the
Aix-en-Provence Festival, Holland Festival, Amsterdam,
Metropolitan Opera, New York, Teatro alla Scala, Milano
Boulez and Chéreau cast light on a little-known Janácek opera


Lista de temas

Leos Janácek (1854 - 1928)
From The House Of The Dead (Z Mrtvého Domu)

Ed. Mackerras / Tyrrell

Act 1

1.
6:04

Mahler Chamber Orchestra, Pierre Boulez

Stefan Margita, Peter Straka, Vladimir Chmelo, Mahler Chamber Orchestra, Pierre Boulez, Arnold Schoenberg Chor, Jordi Casals

Jirí Sulzenko, Olaf Bär, Gerd Grochowski, Peter Straka, Vladimir Chmelo, Heinz Zednik, Mahler Chamber Orchestra, Pierre Boulez, Arnold Schoenberg Chor, Jordi Casals

Stefan Margita, John Mark Ainsley, Mahler Chamber Orchestra, Pierre Boulez, Arnold Schoenberg Chor, Jordi Casals

Stefan Margita, Eric Stoklossa, Heinz Zednik, Mahler Chamber Orchestra, Pierre Boulez, Arnold Schoenberg Chor, Jordi Casals

Act 2

Olaf Bär, Eric Stoklossa, Mahler Chamber Orchestra, Pierre Boulez, Arnold Schoenberg Chor, Jordi Casals

Martin Bárta, Vratislav Kríz, Vladimir Chmelo, John Mark Ainsley, Jan Galla, Tomás Krejcirík, Mahler Chamber Orchestra, Pierre Boulez, Arnold Schoenberg Chor, Jordi Casals

John Mark Ainsley, Vladimir Chmelo, Stefan Margita, Marian Pavlovic, Mahler Chamber Orchestra, Pierre Boulez, Arnold Schoenberg Chor, Jordi Casals

Ales Jenis, Marian Pavlovic, Mahler Chamber Orchestra, Pierre Boulez, Arnold Schoenberg Chor, Jordi Casals

Ales Jenis, Mahler Chamber Orchestra, Pierre Boulez

11.
4:24

Eric Stoklossa, Olivier Dumait, Susannah Haberfeld, Peter Hoare, Heinz Zednik, Stefan Margita, Vladimir Chmelo, Olaf Bär, Peter Straka, Jan Galla, Mahler Chamber Orchestra, Pierre Boulez, Arnold Schoenberg Chor, Jordi Casals

Act 3

Eric Stoklossa, Olaf Bär, Jan Galla, Stefan Margita, Heinz Zednik, Peter Hoare, Peter Straka, John Mark Ainsley, Mahler Chamber Orchestra, Pierre Boulez, Arnold Schoenberg Chor, Jordi Casals

Heinz Zednik, Gerd Grochowski, Andreas Conrad, Stefan Margita, Olaf Bär, Mahler Chamber Orchestra, Pierre Boulez, Arnold Schoenberg Chor, Jordi Casals

Gerd Grochowski, Andreas Conrad, Heinz Zednik, Mahler Chamber Orchestra, Pierre Boulez, Arnold Schoenberg Chor, Jordi Casals

Andreas Conrad, Gerd Grochowski, Eric Stoklossa, Stefan Margita, Heinz Zednik, Mahler Chamber Orchestra, Pierre Boulez, Arnold Schoenberg Chor, Jordi Casals

Jirí Sulzenko, Olaf Bär, Eric Stoklossa, Andreas Conrad, Mahler Chamber Orchestra, Pierre Boulez, Arnold Schoenberg Chor, Jordi Casals

Tiempo total de reproducción 1:39:34

This is a powerful, involving and important release: the first DVD of Janácek's last opera . . . the results are stunningly impressive from the first scene, where violence, simmers, festers, then boils over . . . I don't think I've ever seen a staging of this work that is so consistently alert to the shifting emotional perspectives of the characters, most of them dysfunctional outcasts, but all of them with the 'Spark of God' . . . The acuteness and sensitivity of Chéreaus production is enhanced on this DVD . . . I don't think I've ever seen such telling portrayals of these soul-searching, episodes of self-revelation, but these are equally engrossing performances from a vocal point of view: musically the entire cast seems to have absorbed this score with the greatest care and commitment . . . His approach to Janácek . . . is to savour the headlong energy of the orchestral writing, while also aiming for transparency when voices are at risk of being covered. This mixture of refinement, sensitivity and genuine relish of the music's noble savagery is pretty overwhelming and gives the performance a character that is distinctive . . . DG has provided a worthwhile booklet, interesting bonus material . . . and excellent sound as well as very fine camerawork . . . a work of raw power and nobility. Not to be missed.

. . . these singing actors are totally convincing in their portrayals of men in various stages of desperation and madness. Ainsley in particular is magnificent as the schizophrenic Skuratov, switching personalities, and from madness to lucidity, moment by moment. There is not a weak link in the cast . . . Boulez . . . is light and witty . . . As much as I look forward to seeing it, I can't imagine that it could work any better on stage than at home, in this superb, intimate yet powerful video production.

The large cast, uniformly excellent, has a standout in the Skuratov of John Mark Ainsley. A highly individual performer, he provides such identification with his character that we get the odd sensation of watching a Russian burgher play the role of John Mark Ainsley. Gerd Grochowski, who is all but silent as Siskov until he has to carry Act III of the show, is another fine artist . . . Boulez seconds everything with true theatrical savvy . . . the eighty-two-year-old Boulez and the improbably youthful Mahler Chamber Orchestra are thus a perfect pairing for the theatricals of Act II. Boulez's famous comment about how the opera houses should be blown up . . . is hereby put to rest. And his method of digging as deeply as possible into what is already on the page is a good match for Chéreau's.

Boulez dirigiert seine erste Janácek-Oper mit Weitsicht und Transparenz, disponiert die filmischen Parlando-Szenen mit äußerster Genauigkeit und psychologischem Überblick und lässt immer wieder hören, warum das "Totenhaus" zu den zukunftsweisenden Werken des 20. Jahrhunderts gehört. Janácek wollte den göttlichen Funken zeigen, der auch in Außenseitern der Gesellschaft wohnt. In der Bildersprache Chéreaus wird dieser Funke so deutlich wie in wenigen Regietheater-Inszenierungen der letzten Jahre.

Es braucht einen Meister für dieses Musiktheater wie Patrice Chéreau, der subtil Brutalität inszenieren kann, aber auch scheue Zärtlichkeit . . . [Chéreau inszeniert] realistisch und doch mit großer Kunstfertigkeit . . . Überhaupt macht der französische Theater-, Opern- und Filmregisseur . . . aus John Mark Ainsley, Olaf Bär, Gerd Grochowski, Peter Straka, Heinz Zednik, dem jungen Eric Stoklossa und vielen anderen singende Schauspieler, die zudem auf DVD großartig eingefangen sind . . . [ein] eigenständiger, packender Film . . . Die anderthalb Stunden folgen einer ausgefeilten Dramaturgie von Nahaufnahmen, Totalen und Halbtotalen, sind hochmusikalisch geschnitten und damit auch als Film ein kleines Meisterwerk. Dessen "Soundtrack" ist ebenfalls vom Feinsten, denn Pierre Boulez am Pult des Mahler Chamber Orchestra sorgt für Durchsichtigkeit und größtmögliche Vernetzung mit der Szene. So sollte Oper immer aussehen und sich anhören, so sollte eine Live-Aufführung für die DVD eingefangen werden.

De la beauté formelle et du dramatisme puissant de la direction de Boulez, au travail d'acteur de Chéreau, dense comme rarement dans son grouillement humain et ses pauses narratives, cette expérience d'opéra vaut l'immersion totale. C'est l'un des événements des nos pages sélections CD du mois.