Michael Hampe's staging focuses on the interactions of the characters without trying to create a realistic sense of period and environment. This is effective in a work of art that has roles for gods (Neptune, Minerva) as well as abstractions (Time, Human Frailty). Jeffrey Tate conducts with a fine sense of the proper style, and the singers fit impressively into their roles. Notably fine performances by Thomas Allen as the returning warrior, Ulysses, and Kathleen Kuhlmann as his long-suffering wife, Penelope, are set off by a superb supporting cast. --Joe McLellan
Allen is naked enough for us to get the idea. Ideally, L'Umana fragilita SHOULD be naked, however, I don't believe we as a society are quite advanced enough for this nudity not to get in the way of the message. Some day.
For me, one of the most heart lifting moments in all of opera occurs is the recognition and scene ending duet which occurs between Ulisse and Telemaco. In the space of a moment, Allen's Ulisse changes from old man (far more then just a disguise, in my opinion), to father reunited with his long lost son, and warrior/hero finally ready to return home to his beloved. Amagnificent characterization.
There isn't a false moment in this production and Allen & Kathleen Kuhlmann's final duet is as glorious to see as it is to hear.
At first hearing, Henze's realizations of Monteverdi's score puzzled me just a bit however now it falls beautifully on the ear. While some have denounced it as unlistenable, I think it's among Henze's finest achievements. If you have only room for one type of interpretation - authentic - this is not the video for you. While I love authentic sounding Monteverdi, I have more than ample room to enjoy this production.
The physical production is wonderful and gives the singers great space to work in.
I revisit this DVD with great frequency and cannot recommend it highly enough.
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It helps that this production has a world-class cast, headed by Sir Thomas Allen. I think (and this is admittedly a personal opinion) that it also helps that the orchestration has been done by a world-class contemporary composer. Since Monteverdi's orchestration, if in fact he ever did it, has not survived, the choices are limited: create some presumably Monteverdi-like imitation, or go with what works best. Henze did the latter, and the result is music to my ears. The staging and technical aspects of the production are also admirable.
This production may not appeal to period purists, but I found it most enjoyable, and suspect that other aficianados of modern opera will as well.
