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new-classics.co.uk, October 2016

This Blu-ray release a live recording of Verdi’s tragic masterpiece in an elegant production directed by Tom Cairns at Glyndebourne Opera House in 2014. …Conductor Mark Elder reveals his mastery of the opera’s dramatic shape, coaxing each and every nuance out of the London Philharmonic Orchestra to create beautifully stylish music-making. © 2016 new-classics.co.uk Read complete review



Rod Parke
Seattle Gay News, October 2015

…[Venera Gimadieva] is beautiful and charming, and her voice is at all times lovely, including some nice soft singing in high notes. She reminds me, in fact, of Anna Netrebko. © 2015 Seattle Gay News Read complete review



Mike Ashman
Gramophone, October 2015

VERDI, G.: Traviata (La) (Glyndebourne, 2014) (NTSC) OA1171D
VERDI, G.: Traviata (La) (Glyndebourne, 2014) (Blu-ray, HD) OABD7169D

The Russian soprano (Venera Gimadieva) has, and shows skilfully, a grasp of the situations in which the character finds herself that is not only telegraphically clear but most un-prima donna-ish. She is backed up at every stage by Sir Mark Elder’s fresh beating, pacing and balancing of the score.

Gimadieva (whose coloratura is as consistently immaculate as the rest of her performance) is well supported by her fluently voiced…American Alfredo and the smaller roles (especially Molendowska’s there-all-the-time Annina). © 2015 Gramophone Read complete review on Gramophone




Lawrence D. Devoe, MD
Blu-rayDefinition.com, August 2015

The current release gives us two stars of the future whose portrayal of their respective characters will surely grow as they spend more time inhabiting their roles. …this Glyndebourne Festival production is certainly one worth watching and Maestro Elder’s delivery of this score is as good as I have heard it in recent memory. © 2015 Blu-rayDefinition.com Read complete review



Robert J. Farr
MusicWeb International, August 2015

In this performance Venera Gimadieva certainly has the figure du part and looks quite stunning in her dress for the party. Her warm soprano is full-toned yet capable of the extended flights of coloratura and vocal flexibility. She acts well and her diction and vocal characterisation is good throughout…

…I am a great admirer of Mark Elder, especially in Verdi. Conducting without a score he paces the drama superbly whilst giving the singers every support. He does indulge himself a little in the preludes, milking the motifs that bring tears to the eyes. The lesser parts are all well taken whilst the vibrant chorus are a delight. © 2015 MusicWeb International Read complete review



David Denton
David's Review Corner, August 2015

VERDI, G.: Traviata (La) (Glyndebourne, 2014) (NTSC) OA1171D
VERDI, G.: Traviata (La) (Glyndebourne, 2014) (Blu-ray, HD) OABD7169D

Moving the time forward to the mid-point of the 20th century, Glyndebourne’s 2014 staging of La Traviata from Tim Cairns is a vivid recreation of Dumas’s tragic story. He has Verdi’s posthumous approval, as the composer wanted the original production to be set in his ‘present day’, though he was overruled and the premiere took place dressed in the previous century so as not to ruffle contemporary society sensibilities. Here we have highly fashionable dresses for the females, and sharply cut suits for the men who are buzzing around the delectable Violetta, mistress to Baron Douphol. Into her life comes the highly personable young Alfredo with whom she elopes to the countryside to live a quiet life with him. Everything is fine until his father catches up with him, Violetta eventually dying—as was fashionable in 19th century opera—from consumption. …the cast do resemble the persona involved, and the singing is very good, with a firm and resolute voice of Tassis Christoyannis, as Alfredo’s father, rather stealing the opera from the two major protagonists. Maybe Gimadieva is rather too predictable and one dimensional for those brought up on Maria Callas’s inspired characterisation, but she is vocally powerful and deals admirable with Verdi’s vocal acrobatics. With a typical Italian tenor voice of yesteryear, Michael Fabiano, is an Alfredo of real quality who really gets worked-up in the third act denunciation scene. Eddie Wade as the Baron is vocally and visually an Italian smoothy, with the remainder of the cast doing all that is necessary. The sets from Hildegarde Bechter just about do enough to suggest the time and place… The chorus are energetic, and the orchestra, conducted by Mark Elder, offer routine support. Technically the filming is excellent, the colours vivid and sharply focussed, with the close-up and distance shots nicely balanced. © 2015 David’s Review Corner





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