Monteverdi - Il Ritorno d'Ulisse in Patria / William Christie, Les Arts Florissants, Adrian Noble...

Monteverdi - Il Ritorno d'Ulisse in Patria / William Christie, Les Arts Florissants, Adrian Noble ... | Kresimir Spicer, Marijana Mijanovic | Monteverdi ~ the "Alban Berg" of the Baroque? ;-))

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Monteverdi - Il Ri...

	Monteverdi - Il Ritorno d'Ulisse in Patria / William Christie, Les Arts Florissants, Adrian Noble ... Kresimir Spicer, Marijana Mijanovic Virgin Classics, 2004 average customer review:based on 11 reviews view larger image
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highly recommended

Monteverdi's story of how Ulysses returned from the Trojan War and found his palace full of young suitors for his wife and kingdom has been well served in video productions, but never better than in this one. Les Arts Florissants has set new standards in Renaissance and Baroque music, both for technical skill and for period style. This performance upholds the group's exalted reputation in Monteverdi's magnificent music. Humphrey Burton's direction is effective, with convincing stage action that walks a tightrope between realism and allegory in situations that are sometimes contrived, symbolic, or inherently static. Costumes do not pinpoint any particular period; scenery is minimal almost to the point of nonexistence; what is lost in realism is gained in suggestiveness and flexibility.

Various gods and goddesses meddle in the action. Burton takes these departures from realism in stride, most notably in the scene where Ulysses (Kresimir Spicer) shoots the suitors of his wife, Penelope (Marijana Mijanovic), and the goddess Minerva (Olga Pitarch) takes the arrows from his bow and guides them to their targets. As the goddess of love (several divine roles are double-cast), Pitarch strikes charming poses and has a big, pink heart tattooed on her shoulder. The singing under Christie's expert direction is excellent throughout the cast, notably from Robert Burt (the beggar Iro) besides those mentioned above. --Joe McLellan

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Nudity Schmudity

For the enlightenment of nudity-sensitive viewers everywhere. The nudity on display in the opera is a) confined to the prolog; and b) far less prevalent, and far more dimly lit, than the nudity one would see in any room dedicated to Renaissance Art in any museum.

The character portrayed nude in the prolog was "L'Umana Fragilita," or Human Frailty. The prolog is an allegory, a symbolic representation of how Time, Fortune, and Love beset Humanity. In some stagings the singer who plays Ulisse also takes on the role of L'Umana Fragilita, but usually (as here) not. It is too bad that the below reviewer did not make it past the prolog to find this out.

This performance has exemplary singing, compelling acting, and elegant staging. It is a work of tremendous beauty and spirit. Contrary to innuendo, it is not a Renaissance-period "Oh, Calcutta!" The visual style is not even vaguely Mapplethorpian, and the nudity serves only to heighten the humanity. I can't imagine anyone being disappointed by being "exposed" to this performance. But, then again, "entertainment" is not the word I would associate with it either. It's something more along the lines of enlightenment and elevation.

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Monteverdi ~ the "Alban Berg" of the Baroque? ;-))

I love this production. The singing, the music, the ensemble and the staging.
There is little to be added to any of the other positive reviews of this great work. Marijana Mijanovi? is a very fine and expressive Penelope - her voice is somewhat masculine and even a little "countertenorish". Krešimir Špicer makes a very engaging Ulisse, perhaps a little young, but he has great chemistry with the other members of the cast - who are all outstanding.

The orchestra of Les Arts Florissants is small - cornetti, violins, viola, recorder, dulcian and large continuo group provide us with just enough colour and texture to highlight the drama of the opera. It is hard to imagine a better production of this work.

A word about the nudity at the start of the opera. Some silly prude was bothered by this in one of the reviews presented here. All I can say is "Grow up!" - this is an opera written by an adult, performed by adults for adults. The scene with L'Umana Fragilità is one of the best in the opera - the naked Rachid Ben Ardeslam gives us a vivid picture of an early human being surrounded by the Gods, he believes, who rule his destiny.

Actually, I personally found the oozing sexuality of Katalin Károlyi much more "disturbing" and compelling than the nudity of Rachid Ben Ardeslam. Katalin Károlyi is probably the sexiest opera singer I've ever seen - and she keeps her clothes on!

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The Music Above All

This is a bold production, highly stylized but never static. I enjoyed it as such. However, it's the music that matters, and the music is glorious. The singing is far more technically masterful than the Rene Jacobs and other recordings. The instrumental ensemble is nearly divine.

Great Work

LAF and William Christie always perform very good .
Marvellous staging and singers !!!!

reviews: page 1, 2, 3

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