Bellini: La Sonnambula [DVD] [2010]

This DVD of La Sonnambula, from the Met with Dessay and Florez, is to be highly recommended: the general consensus about the performance (even from the two-star reviewer) is that there is not much wrong musically: I agree. So what about the production?A stage-within-a-stage? Hardly original (try "Kiss Me, Kate"; or even "Taming of the Shrew"), but on the whole this production hangs together and, in the best sense of the word, is clever, slipping from "rehearsal" to "reality" without difficulty, and allowing life to imitate art. First, however, some obvious points: this company, rehearsing "La Sonnambula" is not well-funded, the Stage Manager/Director sings Lisa and the chorus master Alessio.After rehearsing the notary scene, the stage manager signals "take five" and the tenor takes this opportunity to propose to the soprano (who is not at this stage an especially likeable character): they have a relationship, but she is both surprised and delighted (from here until the end of the act, reality sets in). Enter a distinguished looking stranger (whom I took to be a theatrical "Angel"): he finds the soprano attractive, she is flattered, and the tenor (a jealous type) furious. The stranger is given a makeshift place off the rehearsal room. Time for the company to go home and they warn him of a phantom haunting the place (well, theatre people are supposed to be very superstitious). The soprano, annoyed by the tenor's unreasonable behaviour, stands up to him (a spunky, rather than a wet, Amina - thank goodness).The SM is trying to "come on to" the stranger/Angel" but the soprano enters, sleepwalking: the SM clears off, the stranger (realising immediately that this is the "phantom") is tempted but does not take advantage (as Sinatra says in "High Society" - "There are rules"). The company come along for rehearsals the following morning and their noise wakes the soprano who is disoriented ("Dove son?") but sees a face she can rely on ("Ah mio bene") and his reply shocks and deeply wounds her ("Traditrice"). She cannot explain what has happened, except that she has done nothing wrong. (No, I don't know what the ripping up of scores is about either; or why Dessay and Florez have to get on that bed while it's being moved. I did say that on the whole the production is good).We continue slipping between "rehearsal" and "reality", the latter mainly consisting of the outpourings of the tenor and soprano and their reactions to each other. "Ah Perche non posso odiarti" almost destroys the relationship beyond any repair - both are horrified at what he thinks she has done. Is he too brutal here? Of course he is: unfortunately, even the mildest, most pleasant of men (hardly a description of the tenor anyway) can be brutal - and equally unfortunately, most people do not interfere in so-called "domestic" arguments. Sadly, Zimmermann has got this one right. In any case, think of the words: he wants to loathe the soprano, but can't.The show must go on: Amina isn't needed for the next part of the rehearsal, and the SM thinks she has a chance with the tenor (hoping that life will imitate art again, but later this is spoiled by the soprano's mother: so rehearsal and reality overlap). The stranger has explained about somnambulism, but it would be too much of a coincidence for the soprano in La Sonnambula also to be a sleepwalker: then the soprano appears sleepwalking along the ledge outside of the building. It is the SM who rescues her at this point: of course, the SM must always be practical, decide what must be done and how, so she brings the soprano in. A sentimental touch? Absolutely not - the SM might have no love for the soprano, but that doesn't mean that she would not help her if she were in danger. It's called common humanity.The soprano expresses, unconsciously, everything she feels is now going to happen and the tenor is full of remorse - each has learned a great deal about him/herself. So instead of just getting a couple of showpieces, one for tenor and one for soprano, they - and we - are completely involved in the drama. And it is a drama, nor is it slight. Its essence is captured in this highly intelligent, thoughtful, if flawed, production.

This is a reasonably enjoyable production of Bellini's opera though that comes down to the sheer beauty and musicality of the singing rather than the wilfully “different” production; if you are one of those people who thinks that opera directors have been given rather too much artistic licence in the last few decades, chances are you'll not like this; clever though the idea may have looked on paper, in production it looks clever-clever for the sake of it.La Sonnambula is one of the least convincing of operatic plots, but the visual diversion of this production isn't really any help; it's tolerable due to the verve and commitment of the cast and the glorious singing – something the live audience certainly approve of – with both Flórez and Dessay on thrilling top form.It's a worthwhile effort for the musical side alone – it`s not that there's an overwhelming choice of alternative productions, but if one can accept (or ignore) the smarty-pants staging concept for the music, the singing is a treat.Picture quality and sound is very good; subtitles are available and there's a booklet with synopsis provided.The single extra is a 7-minute behind the scenes interview conducted by Deborah Voigt, who also introduces the opera.

I am always very critical of modern productions of operas ,especially when in modern dress and props that come from Argos or any high street chain store! They never seem to have the ring of real theatre and I always feel very cheated when I go to the theatre in real life and don't see spectacle. Thank goodness with DVD home viewing we don't have that expensive outlay . Looking at this production from that point of view I found it extremely enjoyable. First of all, this opera is notorious for having a silly and incredible story line. Also the Tyroliene setting can be portrayed as being very twee! The idea here of making a version of the opera in rehearsal with the main characters intertwined with their own personal problems works very well even though a lot of it still does not gel and make sense. The back drop of a rehearsals room off Broadway gives some poetic license however. The music and individual performances are exceptional. Natalie Dessay soars like an ethereal angel in all of her set pieces And the duets with Florez are particular moving and intimate. Music like this needs no costume or background. Its sheer beauty stands alone. Juan Diego Florez looks the every inch swaggering N Y Latino in his leather jacket. Real Jack the lad! The actual opera character is a little less world wise but we can overlook that! It seemed a very precarious act to put the very famous sleep walking scene and aria on an extended - "Walk the plank" extension of the stage across the orchestra pit. It had a bit of a wobble to it and I was, as the opera really intended, a bit nervous for Dessays safety! The final moments suddenly stage the opera in its bright Tyroliene spectacle which goes a bit over the top and depicts something you would expect from a childs picture book. It all seems to happen so quick you hardly have time to take it all in and appreciate it. Fortunately with a DVD you can run it back as many times as you want. To finalize this is a very nice addition to my collection and one I shall enjoy watching with amazement many times. Thoroughly recommended.