1 A movie--NOT an opera performance
In Zeffirelli's autobiography, he tells us that he was approached to make a movie out of Verdi's wonderful opera. That is why there is so much cutting and pasting in the film. A true purist probably won't be happy with this product. However, there are so many redeeming qualities to the production, that one should be able to turn a blind eye to any perceived shortcomings (i.e., Domingo's age, MacNeil's woofy baritone, Stratas' not-so-great coloratura singing). This reviewer lectures frequently on opera and, when dealing with La Traviata, almost always includes clips from this DVD (or video). The movie is sumptuously mounted, beautifully acted, and extremely moving. It's a great introduction to opera, especially for anyone coming to opera for the first time as an adult. Zeffirelli did a masterful job with his editing of the piece and keeps everything moving toward the inevitable end. It's simply a brilliant production.
2 A Review from an Obsessive Opera Fan
Being an obsessive opera fan, I say this is a perfect movie! La Traviata captures the hearts of all viewers (whether they understand opera or not!). The wonderful, yet heartbreaking plot makes all cry (me too, and I don't cry). Domingo and Stratas are amazing (as always) and portray their characters perfectly (even down to Stratas coughing). Levine (but I know him as Fuzzyhead) does a supurb job like all the operas he conducts. All, young and older, opera fans or not, should see this absolutely wonderful opera film thing.
3 A Change is Always Good
I think opera, as a tradition, tends to stagnate in, well...tradition. It's good that opera is also being expanded to the media of today. This for-film movie production takes all advantage that the video medium has to grant, without the limitations of a traditional filmed stage production. The acting is perfect (Domingo gets better every time I see him, and this performance tops the cake). The casting is very appropriate (Stratas is indeed the sickly prima donna!). Also, the cinematography and camera-work are the work one might expect from Hollywood, not from opera: superb!
All in all, buy it for its creativity.
4 another Zeffirelli grand production
"La Traviata" is undoubtedly Verdi's loveliest and most romantic opera, with no subplots to detract from the ill-fated love of Violetta and Alfredo, and the melodies are sublime and plentiful.
Though as a rule I prefer a stage production to an "opera film", because the vocals usually have less passion to them, and the lip-synching is often noticeable, "La Traviata" is ideally suited to director Zeffirelli's lavish style of sumptuous ornate sets and beautiful outdoor settings, making this an opera that would be enjoyed by those who are either unfamiliar with, or don't particularly like opera, as well as the aficionados.
Teresa Stratas is a delicate, wonderful Violetta, with her huge eyes and petite stature assets for the part of the ailing heroine, and Placido Domingo, with beard and tousled hair, is fabulous as Alfredo, a part that is surely one of the most na•ve and foolish of heroes, but blessed with marvelous music to sing.
James Levine conducts with good pacing, and Cornell MacNeil makes an excellent Papa Germont.
A special treat for ballet fans is the performance by the exquisite Russian ballerina Ekaterina Maximova, and her husband, the great Vladimir Vasiliev, as the Spanish matador dancers; The choreography is by Alberto Testa, and includes Gabriella Borni as the gypsy dancer. This Second Act scene, with the "Noi siamo zingarelle" and "Di Madride noi siam mattadori" is some of the most delightful music in the opera, and it is marvelous to see it danced so well.
The DVD extras are supposed to be: Production notes, Cast/filmmakers' bios, Film highlights, Theatrical trailer, and web links, but my disc did not display options, so was obviously defective; I would have loved to have removed the captions and subtitles, which is also an option, as well as being able to have subtitles in French.
A sublime opera with a terrific cast, this is very satisfying viewing and listening, even for "stage production" fanatics like me. Total playing time is 1 hour and 45 minutes.
5 ONE OF THE GREATEST FILMS EVER MADE
LA TRAVIATA is truly a movie-masterpiece. Brilliantly designed and flawlessly directed, this sumptuous production beautifully captures the grandeur of Romantic opera. Teresa Stratas and Placido Domingo are perfect casting as Violetta and Alfredo. Highlights include "Libiamo" ("The Drinking Song"), "Sempre Libera" and "Di Provenza". As is the case with many great films, LA TRAVIATA seems to improve with each viwing.
PLEASE NOTE: The chapter menu on the DVD edition of this film breaks the opera into four acts, when there are actually three.
"Act Four" should be Act III, and "Act Three" is really Act II Scene 2.
6 I loved it
I'm not well versed in opera and am not a pro, but I have always loved the sound of operatic voices and the beautiful orchestrations behind them. "La Traviata" is, in my own opinion, beautifully done. This movie has gorgeous scenery. The voices and music were pre recorded and the actors lipsinc, which is often done in musical movies like "Cats" and "Grease," so that is not unusual. The performances, in my opinion, are wonderful, and the orchestrations perfect. The scenery, as I said, is very beautiful, with scenes in Paris and in a forest and in a garden. There is plenty of eye candy here! Teresa Statas has a wonderful and powerful voice. Her performance, to me, is flawless, but as I said I am no expert in opera- some other reviewers were not impressed. Placido Domingo is of course wonderful, and so is Cornell Macneil. I highly recommend this DVD to everyone, even if you don't like opera, because it is breathtaking! I was disappointed by the bonus materials because I always like to see interviews with the producers and actors, but these materials seem to be rare on DVDs for some reason. There are production notes, which you read on the screen, cast abd fuknnajers; bios, which you read on the screen, film highlights (I have not yet looked at this), Theatrical Trailer, and web links. Wonderful movie!
7 The Supreme La Traviata: A Masterpiece
This is without a doubt the greatest version of La Traviata ever produced.On DVD, it's unbelievably gorgeous and features production notes and cast bios as well as a trailer. The forces behind this masterpiece are responsible for its greatness- Italian director and designer Franco Zefferelli, tenor Placido Domingo, soprano Teresa Stratas and baritone Cornell McNeil. The singers are at the top of their game, Domingo is a young, sexy Alfredo and Teresa Stratas IS Violetta Valery in a performance that even Maria Callas would envy. Zefferelli had Maria Callas in mind when he cast Teresa Stratas. Like Callas, Stratas has a Greek background through her parents though she was Canadian born, she has the same type of voice and she is in Zefferelli's own words "an electrifying actress and soprano of the lyric entertainment". The Callas connection is most obvious when Stratas appears in a black veiled gown in Act 2 at Flora's party where even her hair is similar to Callas' infamous 50's performances.
Released in 1982, Zefferelli sought to "convert" people into opera lovers through the lush visual seduction of the cinema. This is exactly what he did. The cinematography of this film kills you with excessive beauty. The opening credits roll as we see scenes of Paris in the Notre Dame Cathedral area and surrounding residential district by the Seine river. The interior of Violetta Valery's mansion, where she hosts the Act 1 party, is luxurious and Zefferelli allows us to be dizzied with the sheer opulence of the house- gilded mirrors, portraits of Violetta, curtains, chandeliers etc. Visually on film we are able to tell things about the characters that stage performances do not, for example as the guests depart from Act 1's party, an old woman steals a silver box from Violetta proving to us that Violetta is not among real friends, these are only fair-weathered friends and bad ones at that. They were not even there for her when she was dying in the finale.
The beginning of the film has Violetta reminiscing about the better days as a desirable and wealthy courtesan who partied all the time. She is deathly ill and already her house is sold and men are moving her things out. The country scenes are incredibly beautiful as Violetta and Alfredo live happily in seclusion. Alfredo rides his horse and Violetta picks flowers for her greenhouse and feeds her white doves in their big cage. Cornell McNeil's bombastic but fatherly Giorgio Germont is a great support to the refined performances of Domingo and Stratas. The Flora's party scene is exceptional with even more visual beauty as Gypsies and bullfighters dance seductively and professional gamblers enjoy themselves. The closing ensemble is not to be missed and neither is the melancholy and tragic ending. Conductor James Levine leads the Metropolitan Opera Orchestra and Chorus. Once again, this is the greatest and ultimate version of La Traviata ever made. It is a must have for opera fans and for curious non-opera lovers. Other films Domingo made after this film are Carmen in '84 and Verdi's Othello in 86. Teresa Stratas is the greatest Violetta and she will win your heart with her convincing performance as the sickly, passionate and self-sacrificing courtesan whose love for Alfredo redeems her and gives her happiness even if she dies at the end.
8 Almost perfect
I loved this film. Only about 20 minutes were excised from the score, it was nearly complete. At greater length in the other reviews can be read descriptions of the ballet, breathtakingly beautiful scenery, particularly effective arias. Domingo and Stratas were wonderful. I have Stratas in Boheme on DVD (to replace my original VHS), it made me cry. Traviata made me cry. Can you call anything so painful beautiful? The music was of course glorious. The principals acted and sang to perfection, and of course frail diminutive Stratas looked the part. The movie began interesting, then became wonderful at the first party with the drinking song, then lost interest for me for some time, then picked up again and never let up. The camera-work and crowd scenes were brilliantly done. (I don't like to use the word "brilliant" because it sounds so affected, but I will.) I resent the reviews that call this a good introduction to opera, as though it were somehow inferior to "real opera," I find it condescending, supercilious, pompous and demeaning. However, I gave a copy of the movie to a close friend of mine who also cried, watched it twice and loved it, and this was I think her first opera. It is very beautiful music, well-acted, well-directed, well-sung and with scenery beyond belief.
9 Traviata agotada
Parece que la extraviada (Traviata)realmente esta muy enferma al final ya que la escena esta incompleta. esto no deberia asombrarnos ya que Zeffirelli hizo algo peor con su Otello con su recortada aria del Sauce. Excepto este detalle no tan importante como el Otello, la pelicula es muy bella aunque para los puristas, entre los que me incluyo humildemente quizas por mi condicion de Profesor de Apreciacion Musical, encuentro en ella tal como note en la Carmen de Migenes y Domingo, ruidos innecesarios que en la presentacion en un teatro serian imperdonables; al fin y al cabo lo importante es la musica y no los extras caprichosos de Zeffirelli. A pesar de estos pequenos detalles la presentacion es maravillosa; las cuatro estrelas en vez de cinco obedecen a estas para algunos quizas necedades. Para mi repito, soy un purista y pienso en la intencion siempre del compositor. Recomiendo la version de Beverly Sills y ni se diga la de Angela Ghiorgiu, superiores excepto los tenores ya que Placido Domingo sigue siendo el mejor.
10 For the Extremely Passionate Romantic
I am going to buy this movie so I can watch it 100 times. It is my third favorite movie in the world. I was not an opera fan but 20+ years ago had a thing for Placido Domingo after he did the Perhaps Love duet with John Denver. So when this movie came to an obsure theater in my town I rushed to see it. Went back the next night, and the next, etc., until they stopped showing it. I dragged anyone and everyone with me who was willing to go. Even played hookey from dance company rehersal and dragged by partner. By that time I had seen it so many times and had told him the story in such depth that he was amazed I hadn't missed one detail. That is how much this movie meant to me. You don't have to like opera or musicals but you must be very passionate and romantic to watch this film.
11 Though Not Perfect, A Good Introduction To Opera
That should sum up the schism viewers have for Zefferelli's opera film starring Placido Domigo and Teresa Stratas. There is no question about the supremacy of the film visually. The famous Italian director has made excellent, quality drama and opera as film in the 60's, 70's and 80's; among them the 1968 Romeo and Juliet, Verdi's Othello (also with Domingo) and the 1991 Hamlet starring Mel Gibson. Zefferelli lavishes his films with artistry and lush photography, especially striking are his sweeping locales and precise camerawork. For Verdi's tragic romance, he has selected a fine location that is meant to resemble the French countryside, luxurious interior "ballroom" scenes, effective lighting and contrast, and actors and actresses that look the part. Vocally speaking, the only reason you should get this opera is the tremendous talent of Placido Domingo. He is the equivalent of Enrico Caruso for the twentieth century, an incarnation of the master, appearing handsome and earthy, as well as singing and acting his roles as any Hollywood star would approach the role (could they sing opera that is ). As the lovestruck Alfredo, his arias are striking and reveal great character, especially his "Un Di Felice", his "De Mei Bolenti Spiriti" "O Mio Rimorso" and his final duet "Parigi O Cara". Teresa Stratas looks the part, she is pale and delicate, exotically beautiful as the dying courtesan Violetta. But she has vocal limitations, especially in the higher registers. She has no warmth to her voice and has rather limpid, straightforward vocal lines. The role of Violetta is not an easy role for most sopranos- the heroine must sing most of the time in the course of three acts, and each characterization differs from the other- in Act I she is a flirtatious, bubbly and charming, even operetta-like heroine where her aria "Sempre Libera" demands coloratura fireworks, and her cavatina "A Fors E Lui" requires mellow lyricism. This same type of lyricism, although sung to serve the theme of pathos and dramatic suffering, should be very clear through her duet with Germont in Act 2. These are the arias "Non Sepete" "Ditte A La Giovine" and "Morro La Mia Memoria". In Act 3, she must convey her immediate situation, she is dying and taking her last breath, urges Alfredo to remember her name and to remarry, consuming the audience with the portrayal that although she has been a glittering, amoral prostitute, she will die with God's forgiveness and the joy of having fallen deeply in love. Though vocally this is not the best La Traviata, this is certainly a good introduction to opera. If you watch this film, you might be tempted to see a performance of La Traviata. For recordings of this classic masterpiece, you should go for your favorite soprano. Most go for Maria Callas and Joan Sutherland. I went for Beverly Sills, who sang the role a record 54 times in the space of 63 days, (no one but Sills could ever know the role of Violetta Valery) and who truly masters the role with dramatic, artistic value and sheer, tonal and vocal beauty. All in all, this is still a good film, despite the negative comments below my review.
12 terrible and embarassing subtitles
I have this Zefferilli movie on Laserdisc and am familiar with it; the Laserdisc version has appropriate subtitile, i.e. translation of the Italian dialogue into English. This DVD version has inappropriate garbage in the subtitles, e.g. "laughter" "vocalizing" "coughing" etc., which is distracting and spoils the opera.
13 Chillingly beautiful
This is a haunting video/DVD. Blah blah about seeing it only in the opera house (open yourself to a new experience it's a stylized *film*)I have studied opera from Met performers and when I saw "Sempre Libera" on this video for the first time I was rooted to the spot.
Franco shows Violetta's clinging to her free ways when she knows her heart is being captured by Alfonso with a wildness that is so appropriate. She rushes in a foreshadowy nightrail through the darkened mansion, strewn with champagne bottles and dead symbols of the festivities with a madness that I always thought belonged in "Sempre Libera". It's fabulous. Not that any of these operas are symbols of feminist power, but if you want to see the perfectly balanced stylistic performance that shows grit and sadness of a prostitute who knows she is dying and giving up her found love and tenuous happiness for the happiness of another, this is it.
14 Disfigured by cuts
This film looks beautiful and the performances by Domingo and Stratas are wonderful (although she is not in her best voice). James Levine's conducting and the playing of the Metropolitan Opera Orchestra are as good as you can hear anywhere. The ballet is spectacular. But Zeffirelli cuts away at least one-fourth of the score. He (and many other film makers who have made movies of operas) just doesn't seem to understand that a film of an opera is not an adaptation; it is a performance of that opera using a different medium. An opera is a musical composition; therefore, a film of an opera is a musical performance of a music drama. The film medium frees the visual presentation from the limitations of the stage, but the musical presentation is the essence of the opera and must not be compromised regardless of the medium. Some of Zeffirelli's cuts must infuriate any lover of opera. For example, when Giorgio departs from Violetta after she has promised to leave Alfredo, Zeffirelli cuts some of the "addio"s, saving just a few seconds but destroying the end of the scene. If the opera is more important to you than the cinematography, you may want to buy the DVD starring Angela Gheorghiu and Frank Lopardo, conducted by the late Georg Solti.
15 Cinema 2, Opera 1
Your opinion of "La Traviata" is likely to depend on how free you feel filmmakers should be to adapt established works of art. Director Franco Zeffirelli has practically made a career out of adapting one "classic" play or opera after another (not to mention the life of Jesus) into a parade of baroquely extravagant movies. There is nothing radical in any of Zeffirelli's films. He treats all of the originals in more or less traditional, respectful ways. He just usually does it with such lush abandon that people often have difficulty with the results.
These "difficulties" derive from the untenable, though surprisingly persistent, belief that there is a "pure" version of a book, play or other literary effort that a filmmaker can somehow serve if only he or she is "faithful" enough to the original. This attitude is never less defensible than with a work like "La Traviata," since Verdi's opera is itself an adaptation of a Dumas novel. If composers are free to adapt novels without censure, why should filmmakers have to justify their changes?
On the other hand, having chosen a particular work, the filmmaker can't just ignore it. So stuffed to the gills with decor, splashy camerawork and whirling, twirling, cavorting extras, "La Traviata" doesn't so much ignore the opera as overwhelm the story and music which were, presumably, the reason for making the film. The score is competently performed, although lacking in the visceral and emotional thrills one would expect. Some of the most famous arias have been truncated substantially, giving the impression that the filmmakers were embarrassed by their familiarity. Domingo and Stratas give it their all, but don't bring out much in each other. Their love is more conventional than convincing and the resulting histrionics have to be taken on faith more than experienced as the tragic inevitability of oversized passions.
Only the work of cinematographer Ennio Guarnieri, costume designer Piero Tosi and Zeffirelli (as production designer and director) stand out, which is another way of saying that in the competing demands between opera and film, cinema wins in "La Traviata." It is a sumptuous, often spellbinding spectacle, full of ravishing images and sequences of great panache. As a performance of "La Traviata," however, it borders on the perfunctory.
16 Brings My Friends to Tears Every Time
Yes, I've shown this film to some very different women, with the same reaction every time--they become quite wrapped up in the tragic love story of Violetta and Alfreddo, to the point of tears!
I first saw this movie when it was relatively new, and when I had never even seen a live opera yet. It was as extraordinary for me then as my friends continue to find it. From the moment I saw Placido Domingo in Violetta's hallway, I was hooked on him. But then, I have always been partial to extremely masculine foreign men like Rossano Brazzi.
It's wonderfully filmed, with lush settings and beautiful costuming, especially for Teresa Stratas, our Violetta, the jaded courtesan dying of consumption but eager to grasp at a last chance for love and happiness. With her dark hair and eyes, she bewitches Alfreddo, who impetuously offers her all he has, his love. For a time, it seems that happiness and health is theirs in the country retreat they find, far from the excesses of Paris, but Alfreddo's father arrives and makes a request of Violetta put in terms that she cannot refuse. A misunderstanding between the lovers arises, and tragedy for all is the result. But the audience finds itself caring very much about these characters and wishing that things would turn out very differently.
One scene which I particularly like is when Violetta, Alfreddo, and her lover the baron attend a sumptuous party at Flora's. Here we have dancing gypsy girls and extremely acrobatic matadors tearing up the scene and getting the blood boiling, before things really begin to heat up with the romantic triangle.
But there are many other memorable moments, such as Violetta's opening party, where the famous drinking song masks the love proposals Alfreddo offers, and the frame scenes of the now-on-her-deathbed Violetta, bookending this flashback story of love found and lost, twice.
If you really want to get a bunch of women to bond over their tears, break out "La Traviata". And even if you are all alone, you'll have a transcending evening just listening to the sweetness of this master score of Verdi's.
17 Absolutely Beautiful
This is a magnificent production; one to be enjoyed again and again. Not being a professional critic of films or musical performances, I do not look for, nor do I expect to find, flaws when I settle into my easy chair to enjoy a film. What I do expect is that I will be entertained, and that is something this film does wonderfully. It has everything. Verdi's score and Piave's libretto are beautiful beyond description. The visuals are candy to the eye, and the performances are heartbreakingly lovely. An inevitable result of watching and listening to this DVD are tears in my eyes and a catch in my throat. Buy this DVD for the please it provides. If you want something to criticize, buy a gangsta rap performance disk.
18 Domingo and Stratas.. Perfect Traviata You Can Imagine!
I'm personally a great fan of La Traviata, which was my first opera and my favorite ever since. But among various discs I have by various performers and conductors, this one is simply the best.
Let's put aside Zeffirelli's unforgettable scenes(I always think the most important thing is music), Domingo and Stratas give us silky, brilliant arias shining as jewels.
Compared with this film, the Kleiber version sounds a little bit too reserved. (Even same Domingo sounds less emotional),
and Solti/Georghiu one is too light. From the first time I saw this film, I became a fan of both Domingo and Stratas.
I'm so sorry I cannot get an OST of this film, so I just turn on DVD and listen to it even when I don't have time to watch it!
19 It's not really all that bad.
There are two ways of looking at this film: as an opera, or as a movie. As an opera, it isn't that great. This is mainly because of Teresa Stratas screeching and moaning and I'm sure she belches once or twice too. What do you expect from a character whose most dramatic aria occurs in a drunken stupor (he intones with implied sarcasm)? Domingo is good, as is Cornell MacNeill as Germont-Pere. The two men are brilliant singers and not bad at acting either. However, Stratas overacts. A lot. Eh, sopranos.
However, the movie itself is well done. Zeffirelli has an eye for beauty and eye-pleasing scenery. The visual part of the film leaves you with the warm fuzzies, and the actual direction of Domingo really makes you like the character. However, I felt nothing at the death of Violetta. Except maybe a little bit of relief, but let's not let that get around.
All in all, it's a good attempt at cinematizing Verdi's masterpiece, and I agree with some of the other reviewers that it is probably a better buy for opera newcomers.
20 Recommended, but be aware of a posssible annoyance....
The subtitled VHS version of this film was a great introduction for me years ago when I was learning about opera. Despite the valid criticisms about some of Zeffirelli's cuts and embellishments, I still think it's a beautiful film, both visually and musically. It's great to have it finally available on DVD, in widescreen format.
I do have a major criticism of the DVD however. Although there are regular subtitles in French, the English titles are actually "Captions for the hearing impaired." This is the only option for English titles, so there are sometimes distracting descriptive captions on screen: eg. "[Music Starts]....[Laughing]....[People Singing]....[Finale}" One would think that Universal, an American company, would have provided standard English subtitles as well. (There were standard subtitles on the VHS version and, I would assume, on the American theatrical release.)
The nice thing about subtitles on opera DVDs is that they can be used when one is learning about a new opera, but then turned off when they become intrusive. The English captions are adequate for this purpose and I would still highly recommend this disc for newcomers and opera fans alike.
21 ^_^
I honestly have to say that this was quite a good version of La Traviata. I'm new to Opera, having been in instrumental music all my life, and this DVD held my attention throughout. The sets were wonderful, and the acting superb. I would recommend this, if not for the serious Opera buff, then definately for the newer Opera fan. ^_^
22 Zeffirelli brings his magic touch to Verdi's tragic opera
Franco Zeffirelli has repeatedly proved his affinity for opera on the stage of the Metropolitan. The tableau at the end of the opening scene of "Tosca" and the split level second act of "La Boheme" with the street scene above and the restaurant below come to mind. In this 1982 film he takes Verdi's tragic opera and trims it down to a brisk 105 minutes that retains all of the emotional highlights. Zeffirelli proves his mastery before the first note of music is even played. The overture to Verdi's opera is quite atypical. At the time operas began with a loud rush of music, but in "La Traviata" Verdi saves that for the first act. Verdi's overture begins with the strings playing as softly as possible, seducing the restless audience into quiet and communicating quite clearly that what they are about to see is a tragedy. The first part of the overture is Violetta's death motif, which reappears again before the final scene. The second half repeats a theme several times with the hope that the audience will remember it when it shows up as one of the shortest arias in opera when Violetta leaves Alfredo. Zeffirelli does two things to enhance this overture. First, he does all of the opening credits, done over shots of the Paris locale, before the music starts. Second, Zeffirelli sets the scene of the overture right BEFORE the final scene. Violetta's apartment is dark and shadowy figures move about, removing items. A young man is removing a lamp and just as the second part of the overture begins he looks up--and there is a portrait of Violetta. Entranced by her beauty he sees the doctor leaving and heads down the hallway and tentatively opens the door to Violetta bedroom. But what he sees is a woman dying from consumption. The director continues this conceit, having Violetta startled by the rushing music of the first Act and suddenly seeing light and party guests down the hall.
On stage the appearance of the characters in an opera is of minimal importance. If Joan Sutherland and Luciano Pavarotti are pretending to be youngsters in love we go along with the game because of the pure joy of listening to their voices. Certainly Zeffirelli pays some attention to how his singers look in this film. Teresa Stratas is a relatively delicate soprano, whose physical frailty is well exploited in the final scenes. Placido Domingo is a robust Alfredo and while the pair are obviously older than their characters, we could not seriously expect Zeffirelli to do what he did in his classic "Romeo & Juliet" and find young singers to carry the film. Cornell MacNeil is also in fine voice as Giorgio Germont, Alfredo's father who successfully beseeches Violetta to give my Alfredo so as not to ruin the marital prospects of his daughter. The cinematography is consistent with the director's best films and my only real complaint is that the subtitles do not cover all of the male chorus' big number about the matador, which offers a rather ironic counterpart to what is about to happen at that point in the story. For years I have been showing this film to students who had never seen an opera and their almost universal opinion is that it was actually more enjoyable than they expected. Imagine your response if you are actually incline to like opera.
23 Opera Cinema At Its Very Best
This film is the standard by which all opera films must be measured.
Zefirelli gets right to work and makes good use of the mournful overture by showing the creditors of the dying Violetta ransacking her formerly grand Paris apartment. We realize with horror at the end of the overture that she is still there, coughing away, in the apartment, while the creditors cart away the beautiful accoutrements of her former life.
The remainder of the opera is portrayed as a sensational flashback as the blues of the scenes shown during the overture give rise to the warm candlelight tones of the party, brilliantly costumed, acted, and sung. The "Brindisi" scene is absolute perfection: meltingly sung by both Placido Domingo and Teresa Stratas, romantic and well-matched leads, stunningly costumed, with a lavish spread on the table that would make Martha Stewart look like a piker.
The middle scenes with Cornell McNeil drag somewhat, perhaps because the country idyll of Violetta is inherently unbelievable, and the lyric soprano singing isn't quite as interesting as the coloratura singing in the first act, and the dramatic singing in the third act.
No matter. The large choral scenes which follow are satisfyingly dramatic, with no less a personage than Natalia Makarova in a dancing role, and Alfredo's denunciation of Violetta is both melodic and superbly villainous.
As the opera ends, we discover, in a cruel Zeffirellian twist, that Violetta's deathbed reunion with Alfredo has been a dying hallucination, as the set fades to the same blues of the overture. Get out your handkerchiefs.
24 Total enchantment and marvellous performance
This video which is a movie, sung and performed by wellknown opera singers taken at luxurious homes and country side scenery as background is really a marvellous combination of the usual opera performance and natural movie shooting.
Placido Domingo as the young and romantic Alfredo sung so perfectly, so that he enlivened the tragic story of the young man falling in love to the wayward lady, Violetta. While Teresa Stratas, with her clear full voice, matching Domingo in her superb singing and performance, emphasized the tragic nuance of the music itself. Also Cornell MacNeil as Alfredo's father, Giorgio sung as beautifully as the others in his deep bass baritone voice and made the whole performance more than perfect.
We are especially moved by the magnificent romantic duets of Alfredo and Violetta and also the tragic duets of Violetta and Alfredo's father, Giorgio. Meanwhile we also adore the beautiful scenery in the luxurious rooms and country side, which cannot be viewed if perform on stage.
In overall this video is totally so enchanting with magnificent music and singing with excellent and beautiful background scenery from beginning to the end.
25 The second greatest opera film of all time
Only the film version of Carmen tops this breathtakingly beautiful and sumptuous production of La Traviata. During the overture we see Violetta towards the end of the opera, nearing her tragic death. She looks more like a phantasm, especially when seen next to her lovely portrait, painted when she was radiating beauty and health. Act one thus marks the start of Violetta reminiscing about how she and Alfredo fell in love. This is a most effective beginning, and as this is a film it gives us unique new insights into one of Verdi's most well-known and beloved operas. As such, it allows us to view the opera with new eyes, making us fall in love with it all over again. The singing and acting of Domingo and Stratas are outstanding, although that of Cornell Macneil is somewhat stiff. Aside from perhaps tradionalists who believe that opera can only be performed in the opera house, this film version is sure to please opera and non-opera fans alike.
26 Wonderful Traviata
This is a great version of La Traviata. As it is a film and not just a stage production, there is no annoyingly loud audience sound, no curtains between acts, and wonderful scenery. Teresa Stratas used her wonderful voice and great acting skills well in this video. Domingo is great as Alfredo, too. MacNeil did a good job as germont, and the choruses were fabulous. As it's not a stage version, the party scenes were very fancy and believable, and the final scene was very moving. It's a great film.
27 Zeffereli+ Verdi Plus Film Equals Greatness
You don't have to be an opera fan to enjoy this film. Noted Italian director Franco Zeffreli (Romeo and Juliet 1968) and Hamlet with Mel Gibson, Glen Close(1991) makes Verdi's classic opera into an unforgettable movie experience. The Italian bel canto is at his flower with Domingo in the role of Alfredo, a poor young man from the French Provence who falls for the lusty but deathly ill Violetta Valery (Teresa Stratas). The romance is brought beautifully to life with spectacular dances and lavish locales. The music of Verdi, from the Prelude to Act 1 and 3 to the very key moments of the opera, are conducted to perfection by Levine. The great numbers are all here - the Brindisi, "Sempre Libera" the duets between Alfredo and Violetta "Parigi O Cara ", and Stratas does a wonderful performance in the arias "Ah Ser Fu lei," "O Gran Dio Morir Si Giovine " and "Addio Del Passato." We must also emphasize the beauty of her duet with Alfredo's father in "Conozca Il Sacrificio" and Giorgio's excellent "Pura siccome angelo " and "Di Provincia Il Mare " not to mention the brilliant ensemble pieces such as the finale to Act 2. And the dances! "No Siamo Zingarelle " the dances of the Gypsies and the Matore chorus and revelers. The love theme "Un Di Felice" in which Alfredo pours out his love to Violetta is lovely and the death scene captured wonderfully. Go ahead and see for yourself.
28 Excellent Traviata
As a film, not a stage production, this is the best available, if not without flaws. The Covent Garden live stage performance with Solti is terrific as well. Stratas' acting good as always but her pitch and tone quality often off the mark which I'm surprised wasn't fixed. Domingo is wonderful(I don't care about age; the performance is most important)and the cast singing is fine. Certainly far superior to the recent Paris broadcast with Cura! Moffo's Traviata is good but dubbing a film is always tacky and you just seem to have to make allowances for it. Looking good takes priority over singing; people who don't understand the dynamics of singing opera (not always attractive) prefer to have the singer's mouths "look pretty/handsome" - that's why I prefer videos of stage productions rather than opera movies. I just make allowances for the difference and don't let it get in the way of enjoying one of my favorite operas. I recommend this along with the Covent Garden and Beverly Sills' videos. It still weaves some wonderful magic!
29 Lavish Entertainment
This my third purchase of this work, the first two being on videotape. The second videotape was of poor visual quality. In particular the colours were faded. This is not the case with the DVD version. The colours are bright and the sound track is competent. For people who enjoy opera this is entertainment at its best. If you like this treatment of La Traviata then you should also consider Verdi's Rigoletto (Pavarotti, Wixell, Gruberova, Chailly)on the Decca label, a film directed by Jean-Pierre Ponnelle which is also superb entertainment. Pavarotti is outstanding as is Wixell.
30 Very Good, Very Zeffirelli
Give the singers a break- no Domingo doesn't look the part (in spite of his amusingly lightened and straightened hairdo) but I for one would rather see the actual singers in a filmed version, rather than beautiful actors lip-synching.
While I prefer a lighter Alva-type tenor in this music, I find Domingo to be fully commited musically and dramatically: a very statisfying performance. Statas's voice is not perfect and her tongue does that strange wagging thing, but she really captures Violetta's fast-failing health both vocally and visually. Even better- you can see the fear in Violetta's eyes as she realizes that she is running out of time. Thus, the coloratura is no mere showy display: it's an exploration of Violetta's building desperation. How much more believable it is, then, that an intelligent, been-around-the-block gal as this should do something so self-delusional as run off with Alfredo when she knows in her heart that it will never work.
You really have to love the look of this film- it has a faded quality that puts the whole work into a fittingly soft focus: the lush purple/violets and reds- it looks just like a Monet or a Renoir come to life. Exactly what I want from Zeffirelli. The only bad thing that keeps me from giving this 5 stars: the strange cuts that he makes (similar to the jarring, disorienting cuts in Romeo and Juliet)- such as Violetta's death. Why cut away from her? It destroys the impact of the final moment. Still- the love and commitment from all involved triumph over all concerns.
31 Nice try
I like this movie a lot because of the good performance and excellent photography. Domingo's Alfredo is still good enough however, Stratas's Violetta is not good at all in Act I - her voice is quite annoying and it seems that she cannot adjust her breathing while she is singing - things become better when Germont shows up in Act II. Sound quality is much better than that recorded in an opera house, so is the image quality. It's a good choice for those who do not really enjoy opera (just like me) or who want to try something different.
32 watch the actual opera
I rented this movie because I fell in love with the aria "sempre libera" and just had to see it performed. First, let me say I have heard Anne Moffo perform "sempre" (beautiful voice), and I was very disapointed to hear Teresa Stratas performance of it. Perhaps I'm holding Stratas to too high a standard, but in my opinion the aria was butchered by her. I've heard in the past that she's a wonderful vocalist, but I wasn't very impressed.
As for the "opera-film", I suggest to anyone who is used to live operas not to buy this film. The characters lip sync (terribly I might add) and it takes away from the beauty of the opera. You get the impression you've watching a MTV video rather than a Verdi masterpiece.
If you've new to opera, or very easy to please when it comes to opera, I think you'll enjoy it. But any seasoned opera buff would be much better off leaving this behind. Besides the priceless tenor role, this film is a disgrace to one of Verdi's most beloved operas
33 Really nice opera movie
This video is the one that really got me turned on to opera. Domingo is handsome, Stratas looks the part, MacNeil is believable. There are a couple tiny parts which are cut in this version, one which I really miss, which is the cabaletta, 'O mio rimorso'. I think this video is a great introduction to opera.
34 in response to enh 77
As one of the viewers who dislikes this film, I would like to respond to the comments of enh 77 below. "Sempre libera" is not an inconsequential component of the role of Violetta: it is a revelation in terms of her character development, and, like the rest of the opera, it lives today because of Verdi, not the librettist. That Stratas fails to meet the considerable demands of this aria is only one problem she has with Act One: she also can't sing the decorations in the Brindisi. A better suggestion than Dame Joan Sutherland (who could sing the role from beginning to end) might be Anna Moffo (who, during her brief prime, could sing it to perfection). Comparisons to Maria Callas are misleading and specious. Mme. Callas always based her interpretations upon the score, and worked very hard to realize every single marking that the composer left her. Settling for a generic, "emotional" performance such as Stratas gives in this film was anathema to her: she was a musician first and foremost, and every decision she made as an actress reflects this. As for Act Two, I still, after another viewing of this film, find Ms. Stratas's performance hammy (although I have to give her credit for maintaining some composure opposite the inutterably horrible Germont of Cornel MacNeil). I give this film one more star than I originally did because of Ms. Stratas's masterful and moving reading of the letter (right before "Addio del passato"). But that isn't singing. I believe that this drama exists today only because of Giuseppe Verdi. His score is perfect. This film misses every single point: it's unbearably sentimental, and, upon seeing it again before I wrote this, Domingo is less good and less handsome than I'd remembered, although at his indifferent best he still does the only good singing. I reiterate: lovers of Verdi's La Traviata should approach this video with caution. Viewers who thought that Zefferelli's Romeo and Juliet was an improvement on Shakespeare's are welcome to it.
35 THE Traviata experience
If you watch this film just to hear "Sempre libera", your disappointment is guaranteed because what you should do is buy a Sutherland recording, but this is not the point here. This film is Teresa Stratas's glory and triumph. Her portrayal of Violetta is beyond criticism. The greatness of Stratas's acting has been acknowledged by everyone, but her singing is sometimes severely criticized, unjustly, by some people. Comparing her singing to that of Maria Callas, perhaps the greatest Violetta of all time, might be unfair, but it's not entirely to her disadvantage. Their styles are different and they move you in different ways. Callas's singing is more piercing in its intensity and power (sometimes too excessive); while Stratas's singing certainly doesn't lack any necessary drama, her voice has a genuine vulnerability and tenderness that are very feminine and more suited to the role. Stratas doesn't have the vocal brilliance required in the end of Act One, but her singing or interpretation elsewhere is perfection and entirely satisfying. She sings with total sincerity and exquisiteness. Her tempo choices (or Levine's?) are always natural and well-judged. There is a musical continuity that is rarely heard in other Traviata's. Verdi's music is served very well in this film. He would have been pleased by the overall result and especially by the ideal Violetta in Stratas. How he would have loved to have her in his Traviata premiere!
While Stratas's performance of Violetta is totally believable and heartbreaking, Domingo doesn't convince as much. A little old and just slightly fat, his look isn't that of a natural Alfredo. (but who is?) His acting and singing are both very strong, but for some reason, he just can't make you believe that Violetta would fall in love with him. Perhaps Domingo's personality and voice are a little foreign to the role of Alfredo? It would be interesting to see Carreras in this role. His youthful passion and delicacy of singing would make him an exciting partner for Stratas.
For me the highlight of this film is the entire Act Two. "Non sapete quale affetto" was sung and acted wonderfully, as the entire duet between Violetta and Alfredo's father. The second scene of Act Two was sumptuous (the dance is great!) and extremely intense. Levine and Stratas never leave you a chance to breathe before Violetta's confrontation with Alfredo. When Alfredo drags Violetta to the crowd to humiliate her publicly, the scene becomes almost unbearable to watch. Violetta looks at Alfredo with such despair and disbelief. She can't believe that the man she loves more than herself can be so cruel and hurt her in such a savage way. That look on her face is unforgettable.
The third act is equally heart-rending. "Ah, non piu, a un tempio" and "Ah, gran Dio! Morir si giovine" truly break your heart. Violetta wanted to go to church with Alfredo but her weakness prevented her from doing it, and she realized that there is no hope left for her. Violetta's ultimate death was a frightening climax.
In short, this is the ultimate Traviata experience and simply a film no music lover should miss. It's Stratas and Zeffirelli's glory, as well as Verdi's.
36 Wow! What a Visual Delight!
Amazing filmic effort to capture La Traviata. Not just as opera-for-the-ears but also as a grande opera-for-the-eyes...this is a sensual delight.
Zeffirelli really does the town with sets, costumes, staging, voice mixing...his directoral effort is the real star of this picture...The only one glitch is occasionally Teresa Stratas looks lip-synced.
In short, the total event is picture perfect. Domingo is strong and credible, Stratas is frail/sickly yet vulnerably demure, the entourage and extras are all well acted/sung...this is a great film with a great cast...
No less than 5 stars. Stay home and see this with friends and lovers.
37 My favorite opera!
I just saw this for the first time a few days ago and I was awestruck. "La Traviata" is my favorite opera, and to see Placido play the lead was so incredible. Franco Zeffirelli did a fantastic job with this opera-movie. Visually, it is heaven for the eyes. As for the acting, it is a bit rough around the edges, but the beauty of the music makes up for it. Teresa Stratas' portrayal of Violetta is not the best I have heard. Placido was amazing as usual. The rest of the cast is good and the scene with the gypsies and bullfighters was absolutely stunning. This is a must-see for opera fans and even people who don't care for opera would enjoy it.
38 a most memorable spectacle!
I watched this production years ago on a betamax video and have never forgotton the beautiful filming and wonderful music! I was not an opera enthusiast by any means, but this production in which I could *see* and understand the romantic and tragic story from the english subtitles, made me want to go and listen to opera much more. Compared to other filmed operas, this is a great attempt at making the opera as 'realistic' as possible, rather than just filming a stage. There were various locations and the orchestry of the different scenes is wonderful. All this heightens your enjoyment of Verdi's music. A production you will want to watch more than once.
39 True Classic
This is now a classic. You will be amazed by the exquisite setting. Well, the acting is not exactly what you expect from a movie, but you have to remember that this is an opera not a movie. The singers are expected to hit the right note at the right time, so the acting is not their priority. But having said that, it is far better than any the usual opera singer acting! The singing is excellent, but I would not say the best. Just remember that there are better recordings of this opera in the market. But none of them comes with this kind of visual spectacles. In that sense, the slight imperfection in the singing is more than fully compensated. Domingo looks a bit too old for his role in the picture, but even today he still sings this role (in reality he is old enough to play the father of Alfredo!) You must see this.
40 Should be in VHS only.
The picture quality and the sound quality are both acceptable for a VHS tape, but they are not what I expected from a DVD. Singers and orchestra are quite perfect.
41 Maybe not the best singing, but deffinitely great scenes!
This is the most convincing Traviata I've seen. Domingo is a little older than the ideal Alfredo, but his scenes are well acted. Stratas is not my favorite voice, but she is a dream Violetta. Extremely touching. The sets are the best!
42 La Traviata
Okay, I admit it. I saw this in the theaters (more than once, a lot more than once). I own it on video. And now I own it on DVD.
I'm amazed but two things-- how much it annoys me, and how much it continues to move me. The first time I saw it, I started crying at the end of the Third Act. And each time I saw it, it got worse until I reached the point of crying during the overture. So yes, it does pack an emotional wallop.
But, there are still some things that annoy me. First, the whole thing has been recorded under pitch. The film, the video, the DVD are all under pitch throughout. Was that a mistake, or a conscious effort to stretch the time a little? Second, everyone complains about Domingo being too old (perhaps following the lead of Maltin). Domingo's age has never bothered me. Stratas' vocal age does. I keep hoping as I watch it that she won't sound so tired and inappropriate at the end of Act I, but she does. I just tell myself that she will sound better later on. (And singing to the wine goblets in Sempre Libera always strikes me as funny: will she break them with her high notes?)
And why bother cutting the doctor scene from the beginning of Act 3?
I might seem to have a lot of complaints, but the complaints never explain why I feel compelled to watch this again and again. For that, the director and singers receive some credit, but the real credit is owed to Verdi.
Buy this, watch it, then watch it again.
43 Fantastic Production - Pitiful Audio!
The production is beautiful, Stratas is Great, Domingo is Domingo (altho a bit old for this part). What would be an experience just short of a live performance sadly fails due to (I guess) very pitiful sound mastering on DVD. Its audio is best described as 'squeaky' and doesn't even approach the quality of AM Radio.
A DVD's audio not be sadder than the production's plot! If it's ever properly re-mastered, I'd like a copy.
44 A Serious Disappointment
I have recently purchased and watched as many Operas as I could afford on DVD. Each has been wonderful and short of being there this format gives a truly emotional experience. I knew that Franco Zifferelli's film would be different but I was not prepared for the utterly one dimensional presentation of what is otherwise great music by performers of the highest calibre. The picture quality was little better than VHS (poor), sound was seriously flawed throughout and with no PCM stereo soundtrack included the option of using the disc as a sound only CD was not available to save the day. I cannot recommend this presentation to anyone who expects to enjoy an opera. It is a horrible experience and one I hope never to repeat. Opera depends for much of its impact on the stylised acting that singers must use to convey the drama and their performance needs the interaction that can only come from an audience participating in a live performance. Even as a film this production is poor.
45 "La Traviata" - good picture, good stereo-sound
Available in 16:9-widescreen this DVD offers a pretty good picture for such an "old" opera-movie. The 4 bios are only relevant for people who know nothing about the artists, for all others there no new info in it. The sound, however seems a bit strange: there is very little surround-information in the Dolby Digital-mode (2.0) and even the spacial stereo impression is very little. Most of the sound seems to come from the center-speaker, so the sound appears rather mono than stereo. A good stereo-panorama is hearable, if you put the effect-option at your system off using the PCM-track only, although this does not provide ANY surround information.
46 SENSUOUS DELIGHT
Teresa Stratas is born to play Violetta. Her voice, appearance and manner are all perfect to the role. Domingo is a little old for Alfredo, but his voice is flawless and his interpretation passionate. The entire cast is excellent and the production exciting and well-set. I recommend it most highly. This is an excellent opera for beginners.
47 A butchery of a great work
Warning: this is a dissenting opinion! I have little use for Zefferelli's Shakespeare or Opera films: the best I can say about La Traviata is that it's not quite so horrible as The Taming of the Shrew. Teresa Stratas is simply not equipped to deal with the vocal demands of Violetta, and tries to compensate for this by the most outrageous hamminess in her acting; Placido Domingo gives a solid and not uncharming performance, but it's pretty generic; and Cornel MacNiell as Giorgio Germont is so far past his prime that his work could serve as an admonition to other singers not to push their luck. Every directorial choice is obvious and cheap, which should surprise nobody familiar with Zefferelli's other films. The costumes and hairstyles are very well-done; the sets are perhaps too sumptious. Anyone who loves Verdi will be disturbed by this film's success.
48 Gorgeous!
This is why DVD was invented! I have not seen a live opera, and only a few on TV. While unqualified to give a critcal review of the performances, I can say that this is a captivating and beautiful movie.
I have listened to Verdi's score on CD many times. Seeing it performed in context, however, adds a poignancy to the music which cannot be experienced from the music alone. The combination of drama, magnificant settings, cinematography, and of course digital soundtrack had me feel like I was IN the movie.
If you own a DVD player, this is what it was made for!
49 Excellent!!!!
La Traviata with Domingo and Stratas is one of the best opera movies in History. It is breathtaking and impossible not to like. I would recommend it to anybody who says he/she doesn't like the opera. You will change your mind after you see this film!
50 DVD restores this film to its original glory
Having seen the film five times in theatres, I was terribly disappointed by the pan-and-scan VHS version. No such disappointment with the DVD, which gives us back everything Zeffirelli put into this breathtaking spectacle. The fancy-dress ball act, with its dances and the dramatic confrontation between Alfredo and Violetta, is itself worth the price of the disc.
51 My English is terrible, but I loved the video. Excellent!
I have not anything do say
52 exquisite
Settings and mood captivating.
Sets and overall mood captivating. One does not just turn off the set wneh finished -- its haunting and beautiful music stay with you. I still do not understand why Alfredo did not rush to Violetta as she dropped to her death, but then I am not Verdi - he must have had a reason! Truly a 4-tissue box movie! However, if Domingo chose to sing the telephone book I would enjoy every note! Just to watch him is a joy.
53 This is the best movie I saw in my life
This is the first stereo movie shown in Beijing China, and I had seen it 3 times in the cinema in Beijing in 1987. I got a video tape when I came to USA, and I don't want my wife knows that I have a DVD copy, because I don't want her crys again.
54 Zeffirelli is a master of visual detail.
This is so excellent and holds up so well over time. I've had the LD for many years; the DVD is superior. Hopefully this release is a precursor for the release of other Zeffirelli material: Otello (also Domingo), Taming of the Shrew, Romeo and Juliet, and the Met material that has been offered in the past by DGG (including Turandot).
Zeffirelli is a unique and gifted director of classic material. Bravo, Franco...!!
55 Magnificent
Bravissim
56 Zefirelli's film adaptation is excellent.
Zefirelli draws our attention to the fact that the musical material at the beginning of the opera recurs at a later moment in the film by suggesting that Violetta is recalling the entire story. This approach is consistent with a musicological examination of the score and demonstrates marvelous insight by the director into the music. Zefirelli's great musical sense pervades the entire film.
57 I have 4 different videos of this opera. This is the best.
Franco Zeffirelli's film with Domingo and Stratas is excellent
