Le Roi De Lahore is Massenet's first, but not one of his best for me like Thais, Werther and especially Manon. It is a pleasant opera, it is tuneful as Massenet always is, but of the score the only arias and such to properly stand out are Scindia's Promesse De Mon Avenir and Scindia, Dieux Vengeurs. Also there is nothing much story-wise, other than a love triangle, hero dies, comes back to life and the lovers are reunited in death. The opera is not largely unknown though, there is the Bonynge recording with Sutherland, Lima, Milnes, Ghiaurov and Morris, which I do recommend. But this Teatro La Fenice production marks as the first production on DVD.
And while a tad disappointing, it is definitely worth a look. It is not perfect, the costumes are rather unflattering and vague especially with Sita and the production itself is never quite sure whether to take itself seriously or not, as the first two acts are taken seriously but the Act set in heaven from the plaster elephant, the Victorian-like tea party(historically out of context) to the Western style attitudes and clothing pretty much makes fun of everything, which depending on who you are may leave a cynic amused or disgusted. I wasn't disgusted as such, but it was hardly my idea of a Utopian paradise. Also Sanchez and Gipali don't seem to have much chemistry together, with Sanchez's physique in a way stretching some credibility.
However, the DVD values are good with the sound very fine and the camera work focused. Musically it is truly excellent, with the orchestra outstandingly powerful throughout and the chorus well balanced and not too static dramatically. Marcello Viotti is conductor, and throughout it is assured and flows much better than Richard Bonynge on record.
The principal singing is fine without anybody being phenomenal, once you get past the lack of chemistry between Sanchez and Gipali. I'll start with Ana Maria Sanchez's Sita. I think she is disadvantaged by her costuming, but I also think she is a more credible Sita considering how difficult the role is. Her French diction far surpasses Joan Sutherland's(whose diction is in all honesty execrable and this is coming from a fan of hers) on record, if lacking her freshness. Her middle is exceptionally warm, and while there are moments of shrillness under pressure the high register is more than listenable.
As Alim, Giuseppe Gipali also makes an impression. Like Louis Lima, his voice does ring out, but I personally prefer Gipali's singing here as it is more stylish and there is less of a tendency to sound pushed tuning-wise when singing forte, a danger in the taxing Scindia, Dieux Vengeurs(though here Gipali doesn't sound too taxed). His pronunciation is almost perfect, and while Italianate in style there are no annoying mannerisms to mar his singing.
Of the principals, I'd say the most consistent was the Scindia of Vladmir Stoyanov. Comparing Stoyanov here and Sherrill Milnes on record, Stoyanov's voice is more rounded and beautiful but Milnes is more exciting. Both however ham it up deliciously with rolling rs, are full-blooded in tone and interpretation and manage to covey some poignancy. I have to say though that I wish Stoyanov was given more applause for his truly impressive Promesse De Mon Avenir, he deserved it as it was my personal favourite of the individual solo renditions.
The Kaleds are about equal to me. Hougette Tourangeau is a tad more seductive and chesty, but Cristina Sogmaister has a little more colour and a little less dark. Both ladies though have wonderful voices and are perfect for the role. Her aria is stunning, and her duet with Sanchez reminded me of Lakme's Flower Duet. Federico Sacchi has a short but important role as Indra. He is wonderfully benevolent and regal, and sings beautifully, if not quite as sumptuous as Nicolai Ghiaurov.
Which brings me to Timour. Sadly I found Riccardo Zanellato disappointing. The voice is rounded and big, an improvement on James Morris' slightly dry and nonchalant account, but there wasn't very much dynamics singing going on, a lot of it was loud but that was it. It improves later on but comes too late. I didn't find him very involved in the character either, too much watching Viotti above all else. All in all, a decent production, but apart from Stoyanov and Viotti's conducting perhaps there isn't really anything especially outstanding. 7/10 Bethany Cox
And while a tad disappointing, it is definitely worth a look. It is not perfect, the costumes are rather unflattering and vague especially with Sita and the production itself is never quite sure whether to take itself seriously or not, as the first two acts are taken seriously but the Act set in heaven from the plaster elephant, the Victorian-like tea party(historically out of context) to the Western style attitudes and clothing pretty much makes fun of everything, which depending on who you are may leave a cynic amused or disgusted. I wasn't disgusted as such, but it was hardly my idea of a Utopian paradise. Also Sanchez and Gipali don't seem to have much chemistry together, with Sanchez's physique in a way stretching some credibility.
However, the DVD values are good with the sound very fine and the camera work focused. Musically it is truly excellent, with the orchestra outstandingly powerful throughout and the chorus well balanced and not too static dramatically. Marcello Viotti is conductor, and throughout it is assured and flows much better than Richard Bonynge on record.
The principal singing is fine without anybody being phenomenal, once you get past the lack of chemistry between Sanchez and Gipali. I'll start with Ana Maria Sanchez's Sita. I think she is disadvantaged by her costuming, but I also think she is a more credible Sita considering how difficult the role is. Her French diction far surpasses Joan Sutherland's(whose diction is in all honesty execrable and this is coming from a fan of hers) on record, if lacking her freshness. Her middle is exceptionally warm, and while there are moments of shrillness under pressure the high register is more than listenable.
As Alim, Giuseppe Gipali also makes an impression. Like Louis Lima, his voice does ring out, but I personally prefer Gipali's singing here as it is more stylish and there is less of a tendency to sound pushed tuning-wise when singing forte, a danger in the taxing Scindia, Dieux Vengeurs(though here Gipali doesn't sound too taxed). His pronunciation is almost perfect, and while Italianate in style there are no annoying mannerisms to mar his singing.
Of the principals, I'd say the most consistent was the Scindia of Vladmir Stoyanov. Comparing Stoyanov here and Sherrill Milnes on record, Stoyanov's voice is more rounded and beautiful but Milnes is more exciting. Both however ham it up deliciously with rolling rs, are full-blooded in tone and interpretation and manage to covey some poignancy. I have to say though that I wish Stoyanov was given more applause for his truly impressive Promesse De Mon Avenir, he deserved it as it was my personal favourite of the individual solo renditions.
The Kaleds are about equal to me. Hougette Tourangeau is a tad more seductive and chesty, but Cristina Sogmaister has a little more colour and a little less dark. Both ladies though have wonderful voices and are perfect for the role. Her aria is stunning, and her duet with Sanchez reminded me of Lakme's Flower Duet. Federico Sacchi has a short but important role as Indra. He is wonderfully benevolent and regal, and sings beautifully, if not quite as sumptuous as Nicolai Ghiaurov.
Which brings me to Timour. Sadly I found Riccardo Zanellato disappointing. The voice is rounded and big, an improvement on James Morris' slightly dry and nonchalant account, but there wasn't very much dynamics singing going on, a lot of it was loud but that was it. It improves later on but comes too late. I didn't find him very involved in the character either, too much watching Viotti above all else. All in all, a decent production, but apart from Stoyanov and Viotti's conducting perhaps there isn't really anything especially outstanding. 7/10 Bethany Cox
