Although I have been a loyal follower of this HD series, and have generally enjoyed it, there have been a few that were disappointing or not for all tastes. In answer to my own question, I'd say yes, while I loved the Opening Night Gala and Das Rheingold, liked Magic Flute and Romeo Et Juiliette and disliked Tosca, Anna Bolena really stood out for me for a number of reasons. As always the standard of the High Definition is splendid, and the camera work, picture quality and sound are as good as you would expect.
I loved the set. The use of several walls that rotated or were moved in or not showing a courtroom, some bedrooms and a throne room was an interesting touch, and the transitions seemed professional and seamless. Some may not find the lighting is to their tastes, finding it cold and lacking in warmth. I can understand this, but felt it worked considering the story and the setting. The costumes are mostly in blacks and white with the odd earthy colour, but also shows Anna(Anne) in a burgundy colour, until her fall from grace where she's in black and Jane is in the regal burgundy instead. I found these colours extremely effective, showing the rise and fall of each character.
Donizetti's music is typically outstanding. Alongside Bellini, Donizetti(shown also with Lucia Di Lammermoor, L'Elisir D'Amore, La Fille Du Regiment, La Favorita and Don Pasquale) is a master of the Bel-Canto style, and with the famous Mad scene you can see why here. Marco Armiliato has shown me several times that he is a very energetic and consistent, if not always subtle, conductor, and again he doesn't disappoint. The orchestra prove to be sensitive accompanists as well as playing with the power, style and beauty needed for Donizetti's music.
As for the staging, it is courtesy of David McVicar. I am familiar with McVicar's work, and overall find him a very interesting and solid opera director. True, there are some questionable touches like in his Covent Garden Faust(which I still liked), but his Die Zauberflote, Rigoletto and Salome are for me among the best available versions of those respective operas, and I also enjoyed his Carmen and Le Nozze Di Figaro(haven't yet seen Manon or Guilio Cesare but aim to). I was interested in what he would do with Anna Bolena, not just because of my like of the above productions but also because of his very impressive work for the Met Il Trovatore. Here, he does do a great job, it is a hands-on but very clear and psychologically insightful approach.
But it was the singing that really blew me over with this Anna Bolena. In the title role is Russian soprano Anna Netrebko. I am not the biggest fan of Netrebko, but she has given several performances that I've liked. Of the Met HD series, she gives a performance that even beats her pretty sensational performance in I Puritani, and is much better here than she was as Lucia. Her acting in the final scene is absolutely heart-breaking, and while her consonants could have been clearer and she has a tendency to be pitchy in the colouratura(these are general problems I have with Netrebko though I admit) her voice is darkly dramatic and always expressive.
Ildar Abdrazakov embodies the role of Enrico, something that Ildebrando D'Archangelo doesn't quite. Here though, he does. The performance is vocally rich, robust and brutish dramatically yet the interpretation also conveys a lot of ego, a lot of contempt and a lot of attitude. Ekaterina Gubanova is a very passionate and compelling Jane, especially in hers and Netrebko's Act 2 duet. I will be honest and say I do prefer Elina Garanca only just(the one asset I prefer in the other 2011 Netrebko Anna Bolena from Vienna than to here).
Stephen Costello sings and acts the role of Percy beautifully, with a ringing emotional tone and a pure and honest acting ability. The role is bland in comparison to the three principals, but this is all to do with the role itself rather than Costello's performance. Tamara Mumford is a thoughtful Mark Smeton, looking wonderful in trousers. The chorus are well-projected and balanced and react very well to the action, none of the static poses seen in Peter Grimes for example in sight. All in all, fantastic. 10/10 Bethany Cox
I loved the set. The use of several walls that rotated or were moved in or not showing a courtroom, some bedrooms and a throne room was an interesting touch, and the transitions seemed professional and seamless. Some may not find the lighting is to their tastes, finding it cold and lacking in warmth. I can understand this, but felt it worked considering the story and the setting. The costumes are mostly in blacks and white with the odd earthy colour, but also shows Anna(Anne) in a burgundy colour, until her fall from grace where she's in black and Jane is in the regal burgundy instead. I found these colours extremely effective, showing the rise and fall of each character.
Donizetti's music is typically outstanding. Alongside Bellini, Donizetti(shown also with Lucia Di Lammermoor, L'Elisir D'Amore, La Fille Du Regiment, La Favorita and Don Pasquale) is a master of the Bel-Canto style, and with the famous Mad scene you can see why here. Marco Armiliato has shown me several times that he is a very energetic and consistent, if not always subtle, conductor, and again he doesn't disappoint. The orchestra prove to be sensitive accompanists as well as playing with the power, style and beauty needed for Donizetti's music.
As for the staging, it is courtesy of David McVicar. I am familiar with McVicar's work, and overall find him a very interesting and solid opera director. True, there are some questionable touches like in his Covent Garden Faust(which I still liked), but his Die Zauberflote, Rigoletto and Salome are for me among the best available versions of those respective operas, and I also enjoyed his Carmen and Le Nozze Di Figaro(haven't yet seen Manon or Guilio Cesare but aim to). I was interested in what he would do with Anna Bolena, not just because of my like of the above productions but also because of his very impressive work for the Met Il Trovatore. Here, he does do a great job, it is a hands-on but very clear and psychologically insightful approach.
But it was the singing that really blew me over with this Anna Bolena. In the title role is Russian soprano Anna Netrebko. I am not the biggest fan of Netrebko, but she has given several performances that I've liked. Of the Met HD series, she gives a performance that even beats her pretty sensational performance in I Puritani, and is much better here than she was as Lucia. Her acting in the final scene is absolutely heart-breaking, and while her consonants could have been clearer and she has a tendency to be pitchy in the colouratura(these are general problems I have with Netrebko though I admit) her voice is darkly dramatic and always expressive.
Ildar Abdrazakov embodies the role of Enrico, something that Ildebrando D'Archangelo doesn't quite. Here though, he does. The performance is vocally rich, robust and brutish dramatically yet the interpretation also conveys a lot of ego, a lot of contempt and a lot of attitude. Ekaterina Gubanova is a very passionate and compelling Jane, especially in hers and Netrebko's Act 2 duet. I will be honest and say I do prefer Elina Garanca only just(the one asset I prefer in the other 2011 Netrebko Anna Bolena from Vienna than to here).
Stephen Costello sings and acts the role of Percy beautifully, with a ringing emotional tone and a pure and honest acting ability. The role is bland in comparison to the three principals, but this is all to do with the role itself rather than Costello's performance. Tamara Mumford is a thoughtful Mark Smeton, looking wonderful in trousers. The chorus are well-projected and balanced and react very well to the action, none of the static poses seen in Peter Grimes for example in sight. All in all, fantastic. 10/10 Bethany Cox