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Título: Verdi: La Traviata (Mireille Delunsch/Orchestre de Paris/Sado)
Formato: DVD
Condición: Nuevo
Número de discos: 1
Fecha de produccion: 08/05/2007
Actores: Mireille Delunsch, Matthew Polenzani, Zeljko Lucic, Damiana Pinti, Yutaka Sado
Director: Peter Mussbach
Idioma: italiano, italiano
Tiempo de ejecución: 2 hours and 10 minutes
Código de región: DVD: 2
Marca: Bel Air Classiques
Idioma de los subtítulos: español, Francés, inglés, Alemán
Calificación por edades: MPAA Not Rated
Descripción: 'certainly the most extreme reduction of the plot to its basic elements I have ever seen. In Peter Mussbach's staging the action seems to be taking place in what looks like a chic discotheque. Everyone is dressed in black, except Violetta, who's in white. There are back-projections of a traffic tunnel, and car lights seen through a rainy windscreen. The title-role is taken by Mireille Delunsch, who is made up and costumed to look like Marilyn Monroe in the famous portraits by Milton Greene, in which she wears a white organdie strapless evening gown. The traffic-tunnel effect, sometimes augmented by cat's-eye floor-lights also seems to suggest the last moments in the life of the late Princess of Wales. The other characters are sometimes seen through black net curtains, their nightmarish quality accentuated by Dr Caligari-style make-up. After the initial shock of the first few minutes, I was swept along by the whole thing, since the three principals give such passionate and convincing portrayals. In Act 2, at the end of her duet with Giorgio Germont, her lover's father, Violetta promises that she will leave his son for the sake of the family. 'I shall die then' she sings, 'No generous one, you must live' he replies, and as the music gathers pace, she climbs into his arms and he lifts her on to a pedastal. Sacrificial victim or goddess enthroned? ...If she could sustain this level of involvement in a larger theatre, and in more conventional stagings, Mireille Delunsch could become the Violetta for our time... Alfredo's confrontation with Violetta at the gambling party in the second scene of Act 2 is really the tenor's great moment in Traviata. Polenzani is stretched to the very limit in this outburst. But when seen as well as heard, of course one discounts the slight moment of strain, as he insults Violetta in front of her friends, flinging money at her. This production from Aix of Verdi's opera has its own strange beauty, even though it will exasperate, maybe enrage, those devoted to the more romantic view of the lady of the camellias. At the very end, as Violetta dies, some trick of ultra-violet light makes Mireille Delunsch disappear, so that all that can be seen is just her white evening gown, suddenly empty, as if standing on a tailor's dummy.' BBC Radio 3, CD Review, 25/6/2005

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