by Sam Juliano
The ‘opera film’ as it is referred to in its simplest incarnation is a hybrid of two disparate art forms, that merge to create a vehicle of artistic expression that is like no other. The incomparable experience of visiting an opera house yields an intimacy that can’t be replicated with simulcasts shown in movie theatres, nor with the in-home viewing of taped performances. Yet, for all it’s fidelity to what is often regarded as the ‘world’s greatest art form’ live opera can be an excruciating grind for some because of excessive length, overhead or back of seat subtitles, and minimalist sets that often don’t physically replicate the setting envisioned by the composer. In the early 60’s film directors began to explore new avenues to present opera in sensory terms, showcasing lush settings, ravishing costumes and expressionist filmmaking that allowed the opera basics to shine forth in a completely new light. The best singers of their times were featured in stunning close-up, and medieval tapestries were often re-created to make the stories more alluring and contextually persuasive. The projected permanency of the opera film insured that casting directors painstakingly examine all options before settling on final choices, and orchestras at the peak of their powers were chosen to give the most compelling and faithful readings of the respective works. The result was a new form that allowed opera to be showcased in purely cinematic terms, while simultaneously enriching and accentuating the elements that had the most appeal in the first place. By providing a lustrous and atmospheric canvas, opera was given a new life and an opportunity to appeal to the masses. Three opera film directors, all of whom are still alive and working: Franco Zeffirelli, Jean-Pierre Ponnelle and Peter Weigl, created the most exquisite entries in the field, and all three were prolific and had a talent for composition and framing, and uncanny knack for getting the proper readings for their musicians and extraordinary vocal performances from their stars. Hence, on record, with all the indelible embellishments in place, the work of these remarkably gifted artists has resulted in large measure the finest operatic works available today in any presentation. of course, there other world-class directors who contributed a single great work: Joseph Losey (Don Giovanni), Hans-Jurgen Syberberg (Parsifal),
With few exceptions, all opera films debuted in movie theatres, and were later shown on television and released on tape, laserdisc and DVD. As such, every entry is rightly eligible for inclusion on the decade pollings here at Wonders in the Dark, especially since a number work as daring cinema as well as impeccably transcribed opera. In painstakingly surveying the full output of opera films, nearly all of which I own on DVD, I quickly deduced that there is no rhyme or reason when one judges the best entries. Some of the greatest operas have not been the subject of an ‘opera film’ at all, much less a successful one. Wagner’s Ring Cycle, Tristan und Isolde and Die Meistersinger Von Nurnberg have not been attempted, even though each has been captured impressively in various productions, including the James Levine conducted Metropolitan Opera staging. Likewise, Puccini’s rapturous Turandot, Verdi’s Il Trovatore and Aida and Richard Strauss’s enchanting Der Rosenskavalier are MIA on the filmed opera front. The biggest casualty, comparatively speaking is George Frideric Handel, who was one of opera’s most prolific composers, yet his stagy eighteenth-century oratorios haven’t sufficiently interested film directors, who feel they should be restricted to the stage.
In any case, the five greatest opera composers who ever lived: Wagner, Mozart, Verdi, Puccini and Strauss are well enough represented by opera films, and other major figures such as Bizet, Rossini, Tchaikovsky, Donizetti, Mussorgsky, Mascagni, Leoncavallo, Britten, Offenbach, Smetana, and even Delius and Shostokovich are represented by at least one exceptional opera film, with a few of these more than one. While the earliest opera film to make my Top 30 list, is Powell and Pressburger’s The Tales of Hoffman, (1951) I was reminded earlier today on the phone by Allan (who is not a real fan of opera, but has an encyclopedic memory) that a few Tito Gobbi operas based on Verdi, were released in the 40’s to fair acclaim. However, these fall outside the classification of opera film in my survey, as they did not employ the elements that helped to define the choices on The List, namely technicolor, panavision, exotic settings, and sustained cognizance that the finished product is film that happens to be comprised of operatic context. The 1980’s were the richest period for the best opera films, and the lion’s share of inclusions in my list are from this decade. As the 1980’s poll is just about upon us, I wanted to run this post to coincide with it. There are more than 30 worthy opera films, but thats the number I chose to consider. The numerical order as always is half an attempt to offer a comparative value judgement and half for dramatics. There is little difference in quality between Numbers 1 and 25. I provided brief commentary for the top 10 and just listed Numbers 11 to 25. To repeat what I implied earlier. This is not a list of the greatest operas per se, but a list of the greatest opera films. The fact that many of the greatest operas appear on the list simply speaks for the influence they have had on filmmakers.
1 La Traviata (Verdi) 1983, directed by Franco Zeffirelli, this may well be the greatest opera film of them all. It’s beautifully sung by Domingo and Stratas, deftly orchestrated, and the lush settings, costumes and decor bring more to this Verdi classic than any in-house production could ever accomplish. As per this work’s essence, it’s a timeless story that leaves one shattered. “Sempre Libra” and “The Drinking Song” have never registered so magnificently. Zeffirelli was at the top of his game with this, Otello and Cavaleria Rusticana during this period.
2 Parsifal (Wagner) 1982, directed by Hans-Jurgen Syberberg; While anyone wishing a traditional interpretation of one of the greatest opera ever written (the first act overture may well the most beautiful piece of music to grace the human ear) should look to stage recordings, Syberberg brings that singular, expressionistic, avant garde style, that creates a new work of art from an old one. No opera is as spiritually enveloping as this last of Wagner’s works, which deals with the search for the Holy Grail.
3 Don Giovanni (Mozart) 1979, directed by Joseph Losey; this is a stunningly mounted, and brilliantly atmospheric piece that fully engages this magisterial opera with its philosophical underpinnings. It may be Losey’s finest cinematic outing, and Ruggerio Raimondi, Jose Van Dam, Kiri Te Kanawa and Kenneth Riegel has never been better. This is the definitive Don Giovanni.
4 The Magic Flute (Mozart) 1975; directed by Ingmar Bergman; This masterwork is both cinematic (allowing for manipulations of time and space) and highly theatrical, blending the great master’s love of both forms. Typical for Bergman, it’s cerebral, and brings up some of the darker aspects of Mozart’s operatic masterpiece.
5 Carmen (Bizet) 1984; directed by Franceso Rosi; Julia Migenes makes a superb Carmen, as she comes across as someone who could lead a man to ruination, and she’s a splendid singer, as is the legendary Don Jose, Placido Domingo. I was almost reluctant to place this as high as I did because of it’s wide popularity, but there’s a reason it’s so beloved. Rosi’s use of setting is unmatched here, and all the highlights are note-perfect.
6 Eugene Onegin (Tchaikovsky) 1988; directed by Peter Weigl; this is an altogether ravishing film, intoxicating and well-sung, even if there is a dubbing issue. No matter, as Tchaikovsky’s greatest opera could never look and hear so resplendently. The women are superlative, the cinematography breathless, the orchestration sublime. Theresa Kubiak is heartbreaking as the heroine Tatiana, and George Solti captures the full-range of this great Tchaikovsky score.
7 Otello (Verdi) 1986; directed by Franco Zeffirelli; one of the opera’s most shattering moments, “The Willow Song” has been cut, and while that is rather unforgivable, Franco Zeffirelli’s other ‘liberties’ come off brilliantly. Both Domingo as Otello, and Ricciarelli as Desdemona are definitive, and Justino Diaz as Iago is excellent. Great set design, lighting and atmospheric, capturing the escalating tensions of one of Shakespeare’s greatest tragedies. The framing, the compositions, the spectacular orchestration all conspire to leave one shaken.
8 Madama Butterfly (Puccini) This 1995 Frédéric Mitterand production of Giacomo Puccini’s Madame Butterfly demonstrates the power of film to expand the audiovisual horizons of opera. First, it presents mostly young, attractive singers — such as 23-year-old Chinese soprano Ying Huan — in the principal roles instead of the typical aging and often portly singers. Huan’s stunning voice and innocent face make her a nearly perfect Cio-Cio San. Second, the film sets the action in a lush, lakeside Tunisian hamlet specially constructed to resemble the setting of the opera, a Japanese town outside Nagasaki. Such an arrangement permits the camera to break free of the stage-bound environment and roam outdoors and indoors, marrying nature with the culture and costumes of 1904 Japan and the splendor of Puccini’s music. Third, the film uses technical magic — acoustics, stereo sound reproduction, period costumes, special effects, careful cinematography, and subtitles — to take the opera well beyond the limits of the conventional opera stage. Of course, it is the haunting orchestral and vocal melodies that tell the story. Huan and tenor Richard Troxell ate excellent.
9 La Boheme (Puccini) 1965; directed by Franco Zeffirelli; The 1963 Milan production of La Boheme, preserved in this 1965 film, provides a richly satisfying take on Puccinis much-loved romantic tragedy. The staging is opulent, not least in the way Zeffirelli opens up the Cafe Momus and turns it into a warm, vibrant haven for the bohemians and their followers. But its the relationships which really matter here. Puccinis 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 filming is a bit unsophisticated by the sonorous melodies, and the singing from Raimondi and Mirella Freni is magnificent, and in a class by itself. I think I play this more than any other opera.
10 Il Barbiere di Siviglia (Rossini) 1974; Like all successfully filmed operas, Jean-Pierre Ponnelle’s 1974 film of his 1972 La Scala production of The Barber of Seville weaves its magic on multiple levels: naturalistic lighting and camera work that take the viewer to the heart of the action; wonderful casting and magnificent singing; singers who can act; and conducting (by Claudio Abbado) that simply revels in the richness of an extraordinarily vibrant and much-loved score. Rossini’s 1816 work, based on Beaumarchais’s Figaro characters, is one of the great joys of comic opera, crammed with familiar arias and duets, all of which drive the galloping pace of the book without ever interrupting the plot. At the heart of the tale is Figaro (Hermann Prey, making the most of his trademark theme “Largo al factotum”) and the love triangle of Count Almaviva (a lusty Luigi Alva), the willful Rosina (Teresa Berganza at the peak of her mezzo-soprano powers), and her guardian with an ulterior motive, Batolo. No matter how many times you watch this you are always mesmerized.
11 Cavalleria Rusticana (Mascagni) 1982; directed by Franco Zeffirelli
12 Rigoletto (Verdi) 1983; Both Ingvar Wixell and Luciano Pavarotti are spectacular in this great film.
13 Salome (Strauss) 1992; directed by Gotz Friedrich
14 A Village Romeo and Juliet (Delius) 1986; directed by Peter Weigel
15 Boris Gudonov (Mussorgsky) 1956; directed by Vera Stroyera
16 The Tales of Hoffmann (Offenbach) 1951; directed by Powell and Pressburger
17 Tosca (Puccini) 1976; directed by Gianfranco De Bosio
18 Le Nozze di Figaro 1978; (Mozart) directed by Jean-Pierre Ponelle
19 Death in Venice (Britten) 1981; directed by Tony Palmer
20 Elektra (Strauss) 1993; directed by Gotz Friedrich
21 Werther (Massenet) 1985; directed by Peter Weigl
22 Pagliacci (Leoncavallo) 1984; directed by Franco Zeffirelli
23 Lady Macbeth of Mtsensk (Shostakovich) 1992; directed by Peter Weigl
24 The Bartered Bride (Smetana) 1981; directed by Frantisek Filip
25 Maria Stuarda (Donizetti) 1988; directed by Peter Weigl
This is a tremendous essay that was impossible for me to stop reading before bed. I happened to be skimming the internet before retiring and found Sam’s latest post, in gallies, already up and running. What an exhaustive job this must have been. The passion for both forms, opera and film, are poured all over the monitor and Schmulee’s intense use of verbal detail is astounding. We all have our own little niche’s here (my expertise is on Kubrick, Spielberg, Disney and the animated film in general) and Sam proves he is one of the big authorities on this subject. Knowing him as long as I do I will say this: READ UP, if you think you know opera and filmed opera be prepared, Sam has entered the room and he takes no prisoners here. Schmulee, I think this is one of, if not the best of your essays so far. Most educational and entertaining. A pleasure to read. Thank you for this.. Dennis
Well Dennis, I didn’t mean to keep you up late, but I’m glad and thankful you found some worth here. With th e80’s poll approaching I do feel some deserving opera film should be chosen with the decade’s cinematics masterpieces.
Dear Mr. Juliano,
My mother (age 91) is crazy for opera films. She had them taped from the television on betamax tapes. Her betamax video broke down, so she cant see them anymore. This is very sad for her. Now I am very courious how I can find copies of these opera films on DVD on good quality. Can you please help me? My domicile is in the Netherlands (Holland)
With best regards,
R. Budik
Robert:
Thanks for stopping in! Great to hear of your mother’s love for opera! Reach me at TheFountain26@aol.com and I’ll see what I can do for you.
Sam – your passion and love for opera and film shines brightly in this exquisite essay. I know next to nothing about opera, in fact my only knowledge is that La Traviata is by Virdi, and that is thanks to Felix Unger, in an episode of the TV version of The Odd Couple (LOL). What I liked best is that even for a non-fan like myself you kept my interest all the way through, which I believe, to be a tribute your boundless enthusiasm and love of both art forms. thanks for sharing this!!
Ah, John, THE ODD COUPLE indeed! That show had something for everybody, and there wasn’t seemingly a subject that wasn’t broached at some point! While I’ll admit opera is not for all tastes, it does have some pleasures that are indescribable. Thanks so much for reading!
I’ve always loved classical music/opera, though never seen any, now I’m intrigued by this. I remember the old Halliwell’s film guide by Leslie H. actually giving your top choice two stars in the ’80s, and he was pretty conservative and tight-fisted with his ratings. So that pretty much wetted up my appetite. Superb essay.
Ah Bobby, Leslie Halliwell was a curmudgeon with his star ratings. From him, two stars was somewhat of a glorious validation. These opera films are definitely the way to go to initiate a survey of this great form. Thanks very much.
Now, what told me that you would have ‘La Traviata’ at the top of the heap? It’s interesting that most opera fans only think of Bergman’s ‘The Magic Flute’ and Powell and Pressburger’s “The Tales of Hoffmann’ when they approach the topic, but you have proven there’s so much more. Easily one of your most commanding and persuasive pieces.
Thanks very much for that Joe, and as always your sustained input here is much valued. It’s true what you say about those two, and yes, there are so many more.
My own favorite opera film is the “Rigoletto” you mention here. I think it’s the best Pavarotti singing on any DVD. But it’s an exquisite production, Ponelle’s best, that captures the tragedy wrenchingly. I can’t argue with “La Traviata” though. I’ve been waiting for this piece for a long time. It’s wonderful you didn’t disappoint, much as I knew you wouldn’t.
Yep, Fred, I have long known what you feel about RIGOLETTO, and I couldn’t agree with you more! Thanks for the very kind words.
Hey…how about Jesus Christ Superstar? Rock Opera, yes…but still Opera!?!??!
sent by blackberry
Hey Frank, one can easily consider that an opera, much in the same way that we can consider THE PHANTOM OF THE OPERA, an even more beloved Webber vehicle.
See above…
few Tito Gobbi operas based on Verdi, were released in the 40’s to fair acclaim. However, these fall outside the classification of opera film in my survey, as they did not employ the elements that helped to define the choices on The List, namely technicolor, panavision, exotic settings, and sustained cognizance that the finished product is film that happens to be comprised of operatic context.
Er, beg to differ, old boy, on two counts. One, you haven’t seen the Gobbis, so how can you judge their context?
Two – Panavision!!! Er, excuse me, but since when was Syberberg’s Parsifal shot in Panavision or a widescreen ratio – plus it was all entirely on a sound stage.
Allan, I never said that PARSIFAL was shot in Panavision, I stated that panavision was employed in some of the other opera films. I spoke in a general sense. I am not questioning the worth of the earlier Gobbi films, just that the opera film didn’t really come into prominence until the 50’s.
Here was my original statement (above):
“However, these fall outside the classification of opera film in my survey, as they did not employ the elements that helped to define the choices on The List, namely technicolor, panavision, exotic settings, and sustained cognizance that the finished product is film that happens to be comprised of operatic context.”
Nowhere did I specify here that PARSIFAL employed Panavision, just that some on the Top 25 did, as you know.
This may well be your greatest post ever Sam, and thus the best one ever exhibited at Wonders in the Dark. I know many of these films, and I can’t blame you for going with that Zeffirelli, but it’s a tough decision. Unfortunately, many works are not represented by an opera film as you noted. I think I would name The Barber of Seville as my own Number 1, but again, it’s juggling apples and oranges. I noticed you didn’t include Prokofiev’s War and Peace.
Frank, it is most assuredly NOT the best post at the site, not remotely, but it is one I have great passion for. You could do a lot worse than that great Rossini film! Thanks as always.
Oh and the WAR AND PEACE is not an opera film, but a filmed stage opera. It doesn’t qualify.
Your knowledge in this field is remarkable. I also like that ‘Boheme’ and I can understand why you would feed it to your DVD player more than any other disc. But still, it’s conventional in a film sense, so you were right to place it a little below some of those others. Beautiful essay, one of your finest. Too bad no filmed Ring Cycle.
Yes, the absence of a long film or series of film on opera’s most celebrated work is lamentable to say the least. Thanks, Peter.
Wow, Sam. You’ve outdone yourself with this one. It’s great to see that passion you have for opera combine with WitD’s focus on film. Sadly, I can’t say I’ve ever watched an opera film but that must change soon. I’ve been to operas quite a few times, but would you say that opera films are a good way to introduce someone to opera? Perhaps there’s no substitute for an introductory opera house visit…
Thanks very much for that Phillip! Yes, i would definitely, unreservedly say that the ‘opera film’ is the perfect way to begin a serious study and appreciation of opera. But it’s not the easty way out as some people may think, it still requires a fondness and acceptance of the form. But what with the use of close-ups and the excellent employment of subtitles, it’s particularly persuasive.
Oh, and I’m reminded of Bergman’s use of The Magic Flute in his vastly underrated Hour of the Wolf (I reviewed it over at MZ a while ago: http://www.moviezeal.com/review-hour-of-the-wolf/). Clearly Mozart’s most fanciful opera was a muse for this film – one that I need to revisit soon, but only after watching some opera films. 🙂
Sam –
I’m afraid you’ve got it all wrong.
By far the greatest expression of opera ever captured on film is the 1957, Warner release of Chuck Jones epic: “What’s Opera Doc?” Although it clocks in at only 6:49, the depth of color and expression reached by the characters is unmatched in any other operatic film. And while much has been made of Elmer Fudd’s ill-casting as Siegfried (admittedly he is a lyric tenor and not a helden tenor) while his singing may leave something to be desired, I defy anyone to criticize his acting – he is the very definition of a singing cartoon actor! And, might I add that he and Bugs did their own dancing in the ballet sequence! Not too shabby! Let’s see Pavarotti do that!
Ah Dane, there is no bigger proponent of What’s Up Doc? than yours truly. It is my favorite cartoon of all-time, and I’ve watched it hundreds of times in my lifetime and have ceaselessly promoted it to others, and regularly show it to my classes. While I agree with every excellent point you make there (and I would add the expressionist set design and the brilliant use of Wagner’s orchestral music) alas, I did not deem it proper to include shorts, which were unable to convey the full scope of the opera. had I chose to do so I would also have included Rabbit of Seville, another Chuck Jones Looney Tunes short, which captured the essence of Rossini nearly as brilliantly as What’s Up Doc? effectively sorted Wagner.
sam, I enjoyed this post as I am largely ignorant of this subject matter…
you’ve sent me scurrying to find some of these to view– consider yourself bookmarked!
i wonder what your feeling are of cronenberg’s ‘m. butterfly’, and i wonder if jarman’s ‘war requiem’ would be consider an ‘opera film’ per se? i like both very much…
again, very well done. congrats.
Jamie–
Thanks very much. Give me a little time, and I will help you out there. It will be my pleasure.
Sam, I don’t know enough about the subject to comment knowledgeably on your choices, but I do recognize great writing when I read it, and this is just a tremendous post. It shows great knowledge of, and passion for, the subject as well as truly impressive writing skill. It’s also good to see a movie site expand the breadth of its scope to include relatively specialist subjects like this. And, of course, there’s always the possibility–actually, the certainty–that you will inspire at least some of those who read it to sample those works you list. Bravo, Sam!
Few bloggers can match you R.D. as a “commenter.” You say it all so eloquently, you are gracious, generous and sincere, and you have a command of your subject, even in light of your claim here that you are out of your element. I do remember recently reading a fabulous essay by you at The Movie Projector on Powell and Pressburger’s THE TALES OF HOFFMANN. In fact here it is WitD readers! It’s magnificent!
http://movieprojector.blogspot.com/2009/06/two-by-michael-powell.html
Great essay, Sam. Glad to see my favorite filmed opera, The Magic Flute, made it to #4 on your list. I remember seeing it in college and I loved the occasional cut-aways where Bergman shows the audience watching the opera unfold on the stage. There were also music-biz inside jokes: during one of the intermissions, the bass who sings Sarastro is studying the score to Parsifal – just a musician thinking ahead to his next gig!
Also liked the fact that the singer who portrayed the princess Pamina was svelte & attractive and not your garden-variety 300-pound soprano. To find and cast singers who physically matched their roles was a sea-change from previous opera films.
David, I thank you so much for that. Leave it to Bergman to find those multi-faceted performers. Speaking of Bergman, he’s my favorite director of all-time, and I will be placing FANNY AND ALEXANDER in th e#1 position in th eupcoming 80’s poll.
Those are great points you make there about the cutaways and the music-biz inside jokes. Certainly they brought some comic relief to the production. Thanks again for the much-valued response.
Sam, you are forgetting one opera that is near and dear to my heart to is the rock opera “TommY”
Well Bart, rock operas don’t quite fall within the guidelines, but I like that one myself too! Thanks for commenting here at WitD!
You deserve all the praise you’ve won here Sam. Your knowledge of this subject is second to none. I wish I could say something more meaningful, but I have a shabby background here.
Thanks very much for that Robert. You may not know many, but I’m sure you remember the BOHEME you watched with Russell last year. That was the one that made my list!
No superlative can do justice to Sam’s magisterial piece. I am forever in his debt for the wonderful supply of opera films, and I am continuing to work my way through them today. I cannot argue with a single placement of his, however, at least based on what I have viewed. The Magic Flute will forever remain one of my favorite films of all time.
Alexander, I am as always floored by your exceeding kindness. When one reads such statements, you can’t help but smile from ear to ear. THE MAGIC FLUTE is indeed one of the very greatest of the opera films, in fact any kind of film, as you rightly note. Thanks again!
Have you seen the 1981 Othello? I saw a play of it in London last year, but haven’t seen any filmed adaptations. Hopkins and Hoskins would be good in it (I hope).
And I really want to see “The Magic Flute”. Haven’t seen any Bergman films in quite a while.
Hello Joseph!!!
I have seen that 1981 film, but I do envy you having seen a play based on it in London last year! Now that’s the ticket! The OTHELLO is quite good, even if there are a few other works based on the play that may eclipse it. THE MAGIC FLUTE will show a side of Bergman you haven’t seen. We’ll have to make sure you get a copy of the film. I’ll contact you by e mail! Hope all is well.
what an extraordinary post this is Sam! and specially for someone like myself enormously enlightening. Bravo! This is a performance from you!
I can’t say how much I appreciate that Kaleem, coming from one of my favorite persons here or anywhere.
Beautiful job Sam. Nobody can touch you with this form. I still have yet to see my first staged opera. Maybe in the fall? We’ll see.
Ah, Maria, you may have an escort!
Hi Sam! I wrote a screenplay for an animated Magic Flute, wanna see it?
any advice (and that means criticism) would be appreciated.
Sure Sarah, send it on by all means!
http://picasaweb.google.com/jumel.ny/UMELMagicFlute?authkey=p12hjUGUuO4#
That is some of the art (some also of my Fidelio screenplay . . .)
Anyhow, let me know a good way to send it along.
Thanks.
sarah
Where is the best place to buy these opera films?
Jan, these are available on amazon and virtually every outlet. Thanks for stopping by.
Sam,
I very much appreciate your list. I have been slow to warm up to opera, preferring the non-vibrato voices of early music. Losey’s Don Giovanni will be first on my list.
Can you recommend an opera movie of Monteverdi or Handel? Especially, are there any “early music” productions you would recommend? You can mail to me directly, since this thread is three years old already!!
Cliff, I just saw this, 8 months late! Ha! I will e mail you indeed with some recommendations. Thanks for stopping by.
Dear Laurence,
I just happened to see your comment.
Isn’t this the film you saw? This Butterfly was filmed in 1955 in cinecitta by Carmine Gallone, Rome, boubled voices are Campora and Moscucci. Sofia Loren acted in Aida and La Favorita, but is too big for Cho-cho-san, I should say!
from Japan with best regards to Sam,
Asako Tsuji
Hello,
Could you indicate where I could purchase the above list?
with thanks,
jim drysdale.
Jim:
Nearly all of the DVDs above are available on amazon and through numerous outlets. If you have any trouble, let me know. Thank you Sir.
you forgot a great Opera Film “Eugene Onegin” (USSR 1958).
Indeed Wolfgang. Thanks so much for adding this. Truth is I have not seen the film, but as a result of your recommendation am now investigating if there is a DVD of it. I am very happy with Wegl’s 1988 version, but I am sure this 1958 will be superlative. At the very least I see it is on you tube, so I can watch it there. Thanks again. This thread never dies, and I am grateful for that.
I recently came across Joachim Hess’s TV production of Wozzeck from 1972. If Berg is your thing, it’s definitely worth a look.
ArtHaus Musik [101277]
Thanks very much Al, I’ll definitely investigate this!
This is a fantastic list! Have you seen the 1987 Claude d’Anna film of Verdi’s Macbeth? It is quite remarkable–methinks you’d enjoy it.
Thanks so much Steve! I must say I have not yet seen d’Anna’s film, but you have me more than intrigued. Copies of the DVD can be had on amazon for about $20. Thanks for the recommendation, I will surely be taking you up on it!
Great–hope you enjoy it! I’d love to see a follow-up to this list with any new favorites you may have discovered in the past couple years. This post certainly sent me scampering off to find some new-to-me viewing material! Thanks again.
thanks a lot for your list – it has really brought me closer to the world of opera! i would also like your opinion about Bela Bartok’s Bluebeard’s Castle (Decca 2008, Sir Georg Solti, Sylvia Sass – Kolos Kovats, directed by Miklos Szinetar)
I relly like that Bartok opera my friend, but have not seen this recording. I will investigate it immediately! Thanks for the kind words!
From an old “Old Met” lover
I am astonished at your knowledge of opera movies! I am an “old” opera buff; used to buy stant-only tickets at the Old Met in the 50s when there were no seats available. Now, I am delighted to listen to our NPR station every Saturday, and to be able to view great operas on HD in local theaters. Opera viewing has become so accessible, and still, infinitely less expensive than at the Met! Keep up the excellent work and, THANK YOU!!! Barbara Caban
braulia9@gmail.com
Barbara, thanks so much and I’m thrilled to hear you are longtime Met opera fan! I do also take full advantage of the HD broadcasts and have a number planned for the coming season. I live in northern New Jersey just minutes across the river from Manhattan and have held parttilseasn’s tickets for a number of years. You were there in the 50’s? Wow. I was born in 54, but went in thelate70’s fr the firs time. Thanks for the e mail adress (mine is TheFountain26@aol.com), so we’ll definitely chat! Thanks yu my friend!
Hi Sam,
Thank you for researching, writing and publishing this informative article. Believing as I do that the future of musical theater, including opera, is to be found in adapting this art form to film, so that it can be affordably seen as well as heard throughout the planet and by all classes of society, I am perplexed that it has been 20 years since the most recently produced opera film was released. Perhaps these films did not generate enough profit for their producers for them to want to do more of such projects in the future? Or are there no directors who want to take on such projects?
What are your thoughts on this question?
Best, Peter
Peter—
Thanks so very much for stopping by and for the exceedingly kind words. This particular post was a labor of love, and it’s continued visibility since it’s publication and on going comments have me delighted! Sad to say the finantial issues are what have prevented more of these types of films from surfacing. I agree that film really brings the form to life, and that simple replications of the stage experience doesn’t equal the live attendance. Perhaps we have not seen the last of them, and can hope that some audacious artists resume this incomparable hybrid. I certainly would like nothing better. Thanks again my friend!
Searching for the best opera films I came across this page, and rightfully so. When I saw that you included Syberberg’s Parsifal, I knew that you were both serious and knowledgeable.
You’ve provided an excellent introduction to the topic, with a real understanding of these two very different artforms and how sometimes a director with vision can successfully synthesize them. Kudos to you for your research and for providing us with this page! I would have liked your thoughts on films 11-25 after having gone to the trouble of all your research (and investment), but I’ll happily take what I can get.
I feel there is one film conspicuously absent from your list, though, and that is Straub & Huillet’s extraordinary version of Schoenberg’s Moses und Aaron, a beautiful, very cinematic, and intellectually challenging rendition that is a unique masterpiece of the genre, one that is, unfortunately, not nearly as well known as it should be.
I’d also give an honorable mention to Ponnelle’s filmic takes on Harnoncourt’s Monteverdi operas, truly lovely in every way.
Best,
ST
Thanks for the fantastic addition ‘Sinister!’ and for keeping alive a thread that is one of the dearest to my heart of any I’ve posted at the site. Thanks too for the kind words. I may decide to do an update with additions on Numbers 11-25, and greatly appreciate the interest. I have seen MOSES UND ARON performed at the Met years back, but sad to say have yet to encounter the Straub & Huillet opera film. I will do some investigating this week! I do, however know Ponelle’s films on Monteversi and have them on DVD. I’d now be inclined to move them onto the list. Thanks a again my friend!
I’d like to add for your consideration a great production of Tosca, filmed on the authentic sites in Rome. I’ve only seen it once, and can’t find it anywhere, but my recollection is that Zubin Mehta conducted, and it had the great (imho) Sherril Milnes as Scarpia. The Te Deum sent shivers up the spine.
Thanks so much. I will investigate this suggestion immediately!
I wonder that you didn’t include this classic opera film: http://www.amazon.com/Der-Rosenkavalier-Film-Elisabeth-Schwarzkopf/dp/B0043988GM/ref=cm_cr_pr_pb_i
Thanks for stopping in David. Well, you bring a great work to the table here. The problem is that the Kultur DVD did not come out in time for me to include it in my presentation here. I got to see after I posted the list here. Mind you, I am a HUGE HUGE HUGE fan of this magnificent Strauss opera, and have seen it no less that about 14 times over the years at the Met and at the City Opera. In fact, I just saw it at the Met this past December, and I reviewed it here on my weekly Monday Morning Diary:
In any case, this is surely one of the greatest operas ever written (Strauss’ masterpiece) and it would certainly be named in a re-vision of this opera film list. Thanks again.
Hello ! I have just read that somebody asked you about movies of Monteverdi or Handel and i would be thankfully if you will recommend me some too 🙂 Great article !!
I will be forever grateful to you for this article as it led me to the wonderful “Eugene Onegin” film on your list. Pure bliss! But now I have several questions for you:
1. I already owned several of your other mentions and look forward to adding others to my collection. However, I am wondering if, in the years that have elapsed since you wrote this article, you ever responded to the clamoring of your readers for additions to the list? Especially as more operas have been released on DVD.
2. If you have not added to the list, at the very least have you ever elaborated on the last half of your list? I would thoroughly enjoy details on how you came to select them as many of them I am not familiar with at all.
3. Another reader inquired your opinion of “Bluebeard’s Castle” – Have you seen that yet & formed an opinion? I was thinking of buying it without ever hearing the opera. I’m not crazy about modern music but I can be seduced by some pieces.
4. I’m also wondering why Jean Pierre Ponnelle’s enchanting “La Cenerentola” did not make your list. I tried not to take it personally, but its ommission was like a blow to my heart…
Here’s hoping you will read & respond to my comments, even this long after your article was written.
Best wishes, Katie
Thank you for this very helpful article. We live in a place with little orchestral music, let alone opera, so having a list of great opera films is very helpful as I slowly try to build up my knowledge of this rich art form.
Just to be provocative let me end with a very controversial proposed addition to this excellent list, sure to bring catcalls down on my head. Les Miserables. Best, Bob
i am new to opera and found this. thank you so much i read everything including the comments and i am going to watch eugene onegin first.
😺
Sam Juliano
Thank you for including Madame Butterfly , Frédéric Mitterand production . I studied music most of my formative years. I played the flute and relied on my ears to evaluate music.
When I saw the production of Madame Butterfly by Mitterand , It was a wonderful experience . The impact of the visual was enormous. I had seen many live performances of Opera but none had this effect.