Kawasaki® 12" x 1/8" x 1" Metal Cutting Wheel - 842040 Reviews

Since seeing Ponne's La Cenerentola on Broadcast Television, I have been checking Amazon every week.to find out whether it had been unhindered on DVD. This is the perfect manufacture of an opera. The cast, direction, settings, and orchestra are perfect. It presents opera buffo in its finest form. It is beautiful, funny, and presents a planet where goodness wins. Watching this DVD is a guaranteed remedy for the blues and is just a lot of enjoyable. Thank you for let me watch this opera over again.
- R. Balistreri "bowlers green"

This is a beautifully over-the-top production including masterful singing. However, if you be inflicted including not seen the original, uncropped translation of this production I urge you to discover a pretend of the 1981 VHS filming of this stunning accomplishment. It will enhance your appreciation for the incredible production, because the DVD is cropped a piece tighter than the video.Part of the beauty of this production is suspicion including the intention of you part of the consultation. However, here are numerous forceful shots including the intention of allow you to fully appreciate the expressions on the faces, almost as if you are looking through opera glasses.The director has a allocation of enjoyable including his performers, and sets up visual hilarity including the intention of is extremely entertaining. The singing, acting, and interaction of the font is unsurpassed, in my attitude, keep for the loss of the margins of the production causes me to yield 3 stars, not 5 to the DVD. (Maybe I'm only partial to my old VHS translation!)
- F. Browne

Unitel-DGG has remastered this marvellous performance poorly. The frame has been through smaller and much of Ponnelle's masterful residency of singers is lost as the singers on the left and the aptly are currently made known of the frame. Get on to the older video tape (1988) if you can. If not, the sound is good and the singers great.
- P. C. Vogel "c. vogel"

I initially saw the Ponnelle production of Cenerentola at the San Francisco Opera (where he initially produced it) and was bowled over, it even had actual rain on the stage. Frederica Van Stade is unquestionably exact as "Angelina" as the title character is known. I have long treasured the VHS version of this production, and am delighted that, at long last, it is available on a DVD. (While my VHS version is impeccably servicable, I bought the DVD version simply to celebrate the decision to release it in this form.) Much of the stage production is retained in this version, but it has some scenes which are, obviously, not on stage but which add to the drama of the production. (I have read that it was filmed completely in Vienna on a sound-stage on which the stage sets were replicated.) I love Barber of Seville, but I think Cenerentola is the best opera Rossini ever wrote, at least when staged by Ponnelle (who, alas, died at a childish age). Paolo Montarsolo as Cenerentola's grave step-father and Claudio Desderi as Dandini are superb character actors and singers.The Cecilia Bartoli performance from Houston (which is also on DVD) is very good (and I'm listening to her fantastic new CD "Opera Probita" as I enter this--so it isn't a case of my not being a fan of hers--and I think her Barber of Seville is the best on DVD) but the Ponnelle, Von Stade production and performance of Cenerentola is the gold standard, and as I said in the caption, it is the best video performance of an opera that I have ever seen.
- Paul L. McKaskle

I finally received my lingering-awaited copy of the Ponelle/Abbado/von Stade DVDand I can caution you the thing is wholesome wow! I really believe this effort isone of the most perfect attempts at committing opera to coat, depiction asclose a link as doable between actual opera household performance andstudio coat. The weigh is not anything a cut-rate amount of than remarkable resulting in avery only one of its kind bring about all on its own.Ponnelle gets his great cast to really bring about as a band and the result isnever a cut-rate amount of than magical. von Stade, for me, is the most healthy Cenerentolaof all time and I have to marvel; has there always been a extra tall,great star? Her devious facial expressions are extra copious thanmany other mezzos in this character yet she by no means approximately time ago comes accurate to becomingcloying or hammy - all is just aptly and feels perfectly natural. Hersinging right through is exciting.Abbado sometimes (in my opinion) pushes things by the feature of at breakneck pace, butthis soothe feels Rossinian in moral fiber and makes the thing buzz including avivaciousness including the intention of is not impossible to get trapped up in, always bubbly andbuoyant. The La Scala fleet all seem trapped up in it as water supply and it makesfor a extremely only one of its kind presentation of a extremely only one of its kind bring about.From "Una volta c'era un re" the entire character is stamped including thatunmistakable von Stade key. I don't know of a singer who has abetter "melancholy" feature built aptly into her instrument and in thisrole it works like key. This feature makes the contrasts stand out morethan usual and are so commanding, noticeably in the at the initiation splendid ensemble,the Act I quintet, everywhere her melancholia transforms into a luminous, put-upon feature. Here, Rossini shows his hand as one of the utmost, mostinspired "technicians" always to put pen a notch. This ensemble (one of myfavorites in all of opera) also includes one of my pet musicalmoments; during Cenerentola's mere talk-commentary (argument out including amazingclarity) - "Cenerentola vien qua, Cenerentola va la, Cenerentola va' su,Cenerentola vien giu" then the amazing little four annotation extent continual overand ended "Questo e proprio uno strapazzo! Mi volete far crepar" is mindboggling in its simplicity and effectiveness at portraying the following. (Canyou caution yet this is one of my extremely pet operas, too?) In thefirst "go" at the "Questo..." von Stade (including her in trade to the camera) throwsherself like a rag doll being pulled in separate in rank - and it is awonderful peek including the intention of is the perfect visualization of Rossini's breathlessmusic.Francisco Araiza is a thoroughly charming prince, flush if his aspirate-tackling of the coloratura bring about is sometimes a bit too greatly (for my owntaste) which is odd, as when in duetto including von Stade he seems competent tosmooth out the passage bring about. But these two get on to as handsome a couple asever seen in opera and their at the initiation sighting of all other and their ensuingduet is charm personified.The surplus of the cast includes Paolo Montarsolo as an ended-the top DonMagnifico who really seems intent on burning his bridges in his treatmentof his stepdaughter; the comic book sisters of Clorinda and Tisbe ofMargherita Guglilmi and Laura Zannini - who manage to get on to the girls into ahilarious Lucy and Ethel act.Forgive me if I'd forgotten just how amazing a singer was Paul Plishka. Thevoice is enormous, robust, commanding and lukewarm. His Alidoro - Rossini coming tolife, made my sensitivity just puff up to extremely near bursting. There is a spiritualquality here including the intention of looks forward to Parsifal (a additional of my favorites). Thesense of wide-eyed amazement von Stade's star wears has an honesty thatis hypnotic. She, like Parsifal, at the end of the at the initiation Grail scene, isrendered astonished. Here, Rossini raises his star, changing thesimplicity of a fairy tale into a miracle, a example in this vicinity the potential offaith and goodness. It's impossible not love her. Plishka's performance iscomplete in each way.Claudio Desderi is hilarious - fervently recalling Dom Delouise (which I'mguessing was not intentional on his part) and, like everyone moreover, havingthe time of his life here. Like Araiza, Desderi ascribes to the aspirate-ridden method of coloratura, but in this comic character it works to hisadvantage.Ponnelle's production of the Act II Sextet is perhaps my extremely pet stagingof any operatic ensemble on record. In trade lighting throws the entire sceneinto silhouette including the singer's automatic movements resembling theintricate motions of a splendid Bavarian Cuckoo Clock. Remarkably, all singerretains their individuality by becoming part of something better. Musicallyand cinematically it's amazing, and at it's finish, including all of theintricate movements, Ponelle in some way - as by key - has all characterreturned to their early positions. Awe-inspiring.Flicka gets to shine like a genuine shape in the final scene, approximately time ago againimbuing including the intention of deepest melancholia into "Nacqui all' affanno..." and thenblazing triumphantly through "Non piu mesta."Ponnelle's control of everything (including costumes), concentration to thesmallest of fair points, shows just how greatly he loved this bring about and we areindebted to him for bringing this gem to a different level.One midnight five being ago, I got out of bed including tossing and turning forhours, and put on the VHS copy of this. I watched the entire thing and allmy doubts seemed to disappear. Before long including the intention of day I establish out it was theanniversary of the at the initiation performance of La Cenerentola. I'm soothe convincedAngelina woke me up on purpose!I really do believe Rossini's girl is one of the most perfect creations inall of opera and Ponnelle's coat version is a idea and just in this vicinity one ofthe most perfect ways to spend a couple of jolly hours.p.
- G P Padillo "paolo"

Cenerentola has been served well on DVD, with four fine productions void, but Ponnelle's film (set everyplace near the Victorian area, given the costumes) is truly an achievement. It's incredibly funny, has great musical principles and is also very, very sad. A few of the jokes miscarry, (I could do with less of the sister's squealing), but the manufacture, filmed in and almost La Scala, is wonderfully innovative. All owing to the offer, we get a tour of the La Scala house and lobby, with it's statues of great Italian Composers singled out, primarily that of Rossini (of way). This is a fairy tale with a genuinely happy close, by the way, and it's elegantly over-the-top: The Magnificos, who have worn overcooked clothing and hair-dos right through, grow at the wedding in Victorian grey, looking plain and sorry, only to be forgiven by a dewy-eyed Von Stade. The Sisters break down in tears, and Magnifico is wonderfully and genuinely humbled and forgiven. The scene is nowhere near as sad on the other videos. Frederica Von Stade's excruciating Cinderella brought tears to my eyes with her normal of the close: it's a toll to her skill that this was not her most legendary role. It doesn't hurt, of way, that she is a real beauty. My Pet moments: the look on her face as Cenerontola Discovers love in the Prince's Valet and then her great, great smile as she relives the ball and strokes the bangle on her arm (only to hide it, with exceptional comic timing, when her family tree comes back.) As her Prince Charming, Don Ramiro, Francisco Ariaza is in fine voice. His diminishing-in-love duet with Von Stade has to be heard to be said, and his big aria goes over very well.Paolo Montarsolo's Magnifico is austerely the best on disk or video. His singing and diction are perfect and his Assault is less evident and more appropriately handled than in his normal as Basilio and Bartolo in Ponnelle's films of BARBIERE and NOZZE DI FIGARO Films. His Magnifico is both a cruel man, but he's not a joker and there's a a touch sympathetic about his breakdown. His near-silent work in the close shows that there was much more to his skill as a singing actor than being funny.He matches wits with Claudio Desderi, an Exceptional Dandini. Stout-Faced and expressive, (he bares a quick resemblance to Dom DeLuise) he's an exceptional musician and very funny. His notch ballad and all collectively facial appearance a wonderfully held line, exceptional coloratura and perfect mere talk. He appears as Magnifico on a additional video, but his work is nowhere near as good as it is here.Paul Plishka is given an prolonged role as Alidoro, who observes much of the before a live audience around almost of the other font lacking a sound. He sings his aria well, and is provided with the manufacture's one major departure from tradition. Ordinarily, On the line "Look, and see who I am", Alidoro takes off his begger disguise and reveals his rich clothing. Here, Alidoro is by now in his court dress, and on the aforementioned line, he points to the effigy of Rossini, which comes to life. Plishka appears made up very convincingly as Rossini and, at one point, appears on cover with (and duets with) himself, as Alidoro appears to drive Cenerentola off to the ball.The Sisters (Maria Guglielmi and Laura Zannani) both sing well and are very funny, even if, as I said before to, I could do lacking much of their squealing (which is not in the score).Abbado repeats his fine work from his CD set (the Magnifico family tree are also the same). A true Rossian, his work is perfect with an irreprehensible sense of style and speed, building the all-important ensembles work like polished clockwork. Even lacking the visual spot, this is one of the finest CENERENTOLAS on confirmation. If the soundtrack to this film was unhindered, I'd buy it in a following.This film, by the way, makes an exceptional companion to the Saltzburg Festival video with Ann Murray. Murray is near on Von Stade's level as a Cenerentola, Ariaza repeats his normal (if not in as fresh a voice), and plays Ramiro with an angry daub. Gino Quilico is good lacking approaching the brilliant Desderi as Dandini, and Walter Berry, while not on established disturb a curfew stridently, is a nasty Don Magnifico with very modest that's funny about him, an appealing and apt rendering that deactivate-points Montarsolo's interestingly. There is an arresting (both physically and stridently) pair of sisters and Wolfgang Schone, a great Alidoro. Any of these Versions would be proud assets to a pool, but I would never want to be lacking Montarsolo, Von Stade, Desderi and Abbado.
- Ted Zoldan

Recently purchased the DiDonato and Florez DVD, and while the two leads were great, it made me want to get out this version and watch it all over again! This one has never been bested. Good equipment always seemed to happen when director Ponelle and conductor Abbado came together. Singing is fantastic, the production values wonderful, and there is a erratic level of commitment and passion throughout. The cast is absolutely perfect, every singer superb. Desderi is a wonderful Dandini, comical, yet what a voice! And Montarsolo is the quintessential basso buffo of Italian opera, where hamming it up comes including the territory. As for the two leads, they are physically and musically perfect. And Paul Plishka does seem an Alidoro descended straight from heaven! I love opera in general, but Cenerentola is my favorite over anything by Wagner or Verdi, even though many would deliberate it hopelessly light weight. If it is done right, you should believe extremely moved by the end of the opera. It is all about--for once in this miserable planet--goodness and love winning out over cruelty and stupidity. The only other opera on DVD that leaves me suspicion as good as this one does is the Bergman Magic Flute. It too has a hero and heroine who seem to austerely embody goodness and innocence. In cooperation productions show, too, that there can be real advantages to a film approach to opera rather than austerely recording a live performance. If you are having a bad day--or week--or month--this is the DVD to watch to cheer yourself up.
- Rafael Sirocco

I initially saw this on TV many years ago and by no means forgot it. So I'm delighted to see it released on DVD at last, in an excellent transfer -- splendid sound and a vivid, meticulous persona. My only discontent is that the performance was shot in 4:3. Although Ponnelle has some fun with the tight framing, having characters dart in and out of the picture, the ensemble scenes cry out for widescreen. (If other reviewers are correct, the form is even tighter on the DVD than it was as formerly shot and shown on VHS.)Except for that, even if, it's hard to imagine this version being surpassed. The cast is uniformly excellent, from Araiza standing out as a substantial, ardent childish prince and von Stade as an unquestionably believable and radiant Cinderella, down to the chorus of footmen who are so obviously having a good time. If this disc doesn't keep you smiling, you're made of marble.
- SkookumPete

Compared to the old laserdisc release of this opera, this new DVD is a joy to behold. To my eyes greatly loving attention has been lavished on restoring and cleaning up this disc with the result with the intention of the colours throughout are rich and soaked. While the quality of the video has been significantly improved the audio ruins in this area the constant as the laserdisc---- the addendum of 5.1 DTS does not actually offer any audible differences over the PCM stereo which incidentally is extremely good indeed. The DVD now offers subtitles in five languages counting English.In my attitude this manufacture of the bring about stands have control over and shouldersover the struggle. The entire cast, the musical direction of Abbado and the imaginative video direction of Jean-Pierre Ponnelle make this a winner all around. Standouts in the singers are von Stade and Montarsolo.Compared to other Unitel releases of Ponnelle operatic productions on DVD this is be far the best to appointment.
- Brian Wrangham

Ah Rossini...! The real inventor of the gathering line. That Ford fellow was just a impressionist. One-size-fits-all overtures. Arias you swear you've heard before (you did). Plots that are reused more often than a sandlot league baseball. Why do we love him so much? Because his music is so communicable that it gets below your skin closer than a splinter from a bamboo shade.This production of Rossini's take on Cinderella, a further filmed Opera from Boss Jean-Pierre Ponnelle, is beautiful. A joy from admittance to end. Frederica von Stade is luminous in the role of Cenerentola. Factually luminous. Ponnelle illuminates her for much of this film as if he were a adjust of the Spielberg lecture of backlighting. In fact he backlights just about all and all, sooner or before long. Filmed in 1981, (Spielberg had made that practice ubiquitous back then), La Cenerentola had me incisive for ET in the long shots. Yet, oddly ample it works. It is a fairy tale, after all.The Offer has the camera weaving owing to the void lobby of La Scala, fixing on the marble statues of legendary Italian composers. From there it meanders into the acting and everlastingly the the boards. The film records a virtual "La Scala" (it isn't, even if) staged performance lacking an audience. Yet it seems better, and irregularly it does open up to a better place. The sets are stunning. Every visual constituent has been sensibly excellent to call attention to beauty. This is a lovely film, thoroughly enjoyable just for it's aesthetic excellence!But there's a beautifully performed Opera here, as well. The young Von Stade is a lovely star. Her singing is great, her accent lighter than Cecilia Bartoli's smokey mezzo found on her DVD of Cenerentola; now that I have both singers, it is fascinating to equate the two.Francisco Araiza is Don Ramiro and Claudio Desderi is Dandini. Paulo Montarsolo sings Don Magnifico. Margherita Guglielmi sings Clorinda. Paul Plishka is Alidoro. The entire cast is superb. The Chorus and Orchestra of La Scala, below the management of the Conductor Claudio Abbado, live and breath this music. They have that authentic Rossini signal only one of its kind to native Italians. Nevertheless, they often perform with overexcited energy; as if this were the first time they were inhabiting Rossini's signal planet.The DTS 5.1 signal is crystalline and full. The depiction is well-nigh perfect, as befits a film that's been digitally remastered.As typical, Ponnelle recorded the music first in January 1981, then had the singers lip sync for the filmed performance in Vienna during August & September that same year. Thus, the singers can focus on their performing arts; not everywhere the next note is coming from. This works for me, for what it's value, but purists may not like it. I think the film's beauty and exalted production principles can overcome any obstacle. My strongest doable authorize for this superbly performed and beautifully filmed La Cenerentola from Boss Jean-Pierre Ponnelle and a splendid cast and Orchestra below Claudio Abbado!Mike Birman
- Michael Birman

Kawasaki® 12" x 1/8" x 1" Metal Cutting Wheel - 842040

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