This performance of Verdi's La Traviata comes from the Gran Teatro La Fenice, Venice in 1992. The intimacy and social realism of the story make it one of the most dramatically successful of all operas, while the score contains some of the finest music of the 19th century. Despite the strong production values and well-staged party scenes, any production of La Traviata stands or falls on the performers in the vital roles of the lovers Violetta and Alfredo, and that of Alfredo's father, Giorgio. Here Giorgio Zancanaro is suitably decent and morally serious as Giorgio, and Neil Shicoff makes a strong impression as an ordinary man suddenly overwhelmed by love. The drawback is that--and there is no polite way to say this--Edita Gruberova is not only too old to play the sparkling young society girl, Violetta, but she is a much better singer than she is an actress. She comes into her own in the tragic last act, but is otherwise awkward and uncomfortable when the part requires her to demonstrate confidence and sensuality. This remains a production with considerable merits, but overall a more dramatically, not to say visually, compelling version is that originally broadcast world-wide live from Paris in 2000 starring Eteri Gvazava and José Cura.

On the DVD: The production is presented at 4:3 with above average picture quality for a live opera DVD, and with excellent PCM stereo sound. The disc and booklet both offer a synopsis, but other than the option to watch with or without subtitles there are no special features. --Gary S. Dalkin

One of the best of Verdi's earlier operas, Macbeth has a distinctive energy to which, in this performance, conductor Sinopoli gives full rein. His excellent chorus--terrifyingly skittish witches, mournful exiles, sinister-facetious murderers, outraged and vengeful courtiers in the aftermath of Duncan's murder--is as much a participant as the principals, and the orchestral accompaniment reminds us that what the young Verdi lacked of his later subtlety he made up in sheer vigour. Renato Bruson is an extraordinary Macbeth, caught in a nightmare of his own making and unable to find release save through further killings and eventually self-destruction; Maria Zampieri has the sort of voice Verdi specified and which many productions avoid, a voice prepared to give its all, not to any sort of lyric beauty but to a harshness that is dramatically appropriate--this is a fine characterisation. Dennis O'Neill has comparatively little to do, but makes his vengeance aria a memorable reminder that guilt and shame are not all that this opera is about. --Roz Kaveney

One of the chief pleasures of this live production of Otello from the Berlin Staatsoper Unter den Linden is Daniel Barenboim's conducting. From the opening gale-force blast of storm music, through the crunching and stabbing accompaniment of Iago's "Credo" to the shimmering strings of Desdemona's "Willow Song", he doesn't miss a trick. Everything works at the highest pitch of intensity and the orchestra sticks to his beat like glue. It's a necessary compensation for the shortcomings of the staging: the stolid chorus remains unperturbed by the storm and is directed to perform with unison movements; the acting (apart from Valeri Alexejev) is non-committal, and Alexandre Tarta's video direction somewhat flat-footed. She doesn't manage to make much small-screen sense of an impenetrably murky opening scene, for example, and doesn't seem fond of reaction shots. That said, Christian Franz and Emily Magee both have large-scale voices that they know how to shade into mo! ments of intimacy, and George Tsypin's sets are impressive: the murder of Desdemona is set against a brilliant lake of fire.

On the DVD: Otello is presented in 1.78:1 ratio with PCM Stereo and Dolby Digital 5.1 sound options. The picture quality is clear, although much of the lighting of this live production is low-level and thus many details do not come over well. Nor does the stage microphone system avoid some muffling of sound. There are subtitles in Italian, English, German, French and Spanish. --Warwick Thompson