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Raul da Gama
The WholeNote, April 2017

You absolutely cannot go wrong with perfect scores and librettos in the hands of Mehta, who brought all of this to life aided and abetted by superb (film) direction, casting and the creation of atmosphere so transcendent that it felt as if you had been teleported to the Italy of a time long gone by.

Of course there seems no one better suited than Domingo to play Rigoletto despite having to sing well below his preferred tenor range, for Verdi cast his principal character here as a baritone. Domingo pulls it off with aplomb. Still he is almost completely upstaged by the pristine soprano of Novikova. A more perfect Gilda there will not be in this lifetime…

The music of La Traviata cannot be faulted… The extended duet between Violetta and Giorgio Germont and Violetta’s swooning last testament are perfectly nailed by Rolando Panerai and Eteri Gvazava. © 2017 The WholeNote Read complete review

Porgy Amor
Parterre Box, January 2017

Mehta contributes to all three films what is needed above all: a steady hand. I find his approach more apposite in Puccini than in middle Verdi, but each time he gets an attractively burnished, weighty sound and holds singers and orchestra together in challenging circumstances. © 2017 Parterre Box Read complete review

Robert Benson, December 2016

Tosca is the gem on this new set; …The Rigoletto displays Domingo in the title role and although he sings it well, …The remainder of the cast is strong, …The high point of this film is the stunning photography. The Act I party scene is brilliant indeed, and the outside scenes in the other acts surely impress. …this is a unique presentation sure to attract many operaphiles. © 2016 Read complete review

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