Karajan, Or, Beauty As I See It (2008) Review

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Karajan, Or, Beauty As I See It (2008) ReviewRobert Dornhelm's 92 minute film on the late, great Herbert von Karajan is informative, beautiful and elegiacal. More than any other question, it addresses what made Karajan (arguably) the supreme conductor of his generation and one of the towering musical figures of the twentieth century. Much rehearsal footage is included, as well as incisive, on-point, commentary by Christa Ludwig, Gundula Janowitz, Helmut Schmidt, Seiji Ozawa, Christian Thielemann, Brigitte Fassbaender, Yevgeny Kissin, Rene Kollo, Anne-Sophie Mutter, Elizabeth Schwarzkopf and others (gratuitous flattery seems absent). Karajan himself talks a lot in interviews and interacting with orchestras in rehearsal, generating thereby a feel for his artistry, one so inextricably entwined with his personality that it was never a transferable "method."
Robert Dornhelm's documentary is beautiful to look at, organized more thematically than chronologically. It is not a biography, though biographical information is encompassed, including, i.a., his membership in the Nazi party and the row with the BPO over his appointment of Sabine Mayer as principal clarinetist. Karajan has said elsewhere that, earlier in his career, he aimed at a synhesis of the "objectivity" of a Toscanini and the passion and sponteneity of a Furtwangler; ironically, neither name is mentioned in the film. Nor is there any discussion of his involvement in London with the Philharmonia Orchestra (of which he was principal conductor), originally a recording orchestra formed by Walter Legge for EMI, a rival firm to Deutsche Grammaphon who issued the DVD, though ample mention is made of Karajan's affiliation not only with the Berlin Philharmonic, of course, but also with the Vienna Philharmonic and La Scala (of which he was also music director), all with DG affiliations. Karajan left the London post when he became principal conductor of the BPO upon Furtwangler's death. These suspect omissions are, however, more peculiar than crippling.
Most interesting is a whole section towards the end of the documentary juxtaposing the contrasting styles of Karajan and Leonard Bernstein (both DG artists, incidentally). It is really an illuminating sequence.
There's loving participation by Karajan's widow and their two daughters.
Hidden in the menu under the word "trailers" are extensive excerpts from released DVD Karajan performances, not truncated clips but whole excerpts, e.g. the final scene from Rheinegold, part of Brahms German Requiem, Jon Vickers doing Vesti la Giubba, von Suppé's Light Cavalry, etc.
Robert Dornhelm has put together an intelligent, beautiful documentary which will bring much repeated pleasure to anyone interested in 20th century classical music performance. Karajan is inescapable. The b&w rehearsal and concert film of Karajan and the Vienna Symphony (not the VPO) by Henri-Georges Clouzot is also warmly recommended.
I need to acknowledge that since I was a teenager I have been an admirer of Herbert von Karajan's work and have had the pleasure, indeed privilege, of seeing him perform live in concert, in the opera house, and as harpsichordist (!) with a chamber ensemble.Karajan, Or, Beauty As I See It (2008) Overview

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Puccini - Madama Butterfly (1974) Review

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Puccini - Madama Butterfly (1974) ReviewThis supposedly new release from Deutsche Grammophon is actually the same 1974 production previously released under the Decca label in 2001. That older title is still available at Amazon. This is a film version, not a stage production. It was directed by Jean-Pierre Ponnelle and starred some of the finest performers available at the time. The great Herbert von Karajan conducts the Vienna Philharmonic Orchestra and Vienna State Opera. It is without question a magnificient performance. Mirella Freni sings the role of Butterfly as few others can match. Placido Domingo is in equally fine form. Christa Ludwig is excellent as Suzuki. And yet the film as a whole doesn't really work. The trouble is that while Ponnelle tries to make this into a movie version of Butterfly, he neither has the resources nor the capability for doing so. The staging looks decidedly cheap, lacklustre and as some have commented, tacky. An effective movie version would benefit from realistic settings, a real house on a hill, with a sparkling Bay beneath. It could have done without some of the sensationalist/ridiculous set directions, like having Domingo jump out through the paper walls of the house, ostensibly for dramatic effect. This production could have worked (indeed would have been a triumphant success) if filmed purely as a stage based opera. However Ponnelle's final choice puts it neither here nor there. We have sets that look like they belong on stage (and not a very good stage at that), yet the performers are made to act as if they were in a movie. We get to see Placido Domingo chewing gum while he contemplates marrying Cio Cio San, presumably to show what a cad he is. And he continues to chew gum even while he's supposed to be singing. While this is still set in 19th century Japan, Domingo is seen to wear an obviously 20th century T-shirt. Domingo can act far better than what is shown here. As for the singing, the performances are all dubbed post-production. Lip synching ranges from poor to laughable. Because this is supposed to be a movie, and not a staged opera, we get the truly unbelieveable sight of these great performers singing without having to open their mouths - as we are supposed to be hearing their thoughts. Again, this could work provided the director is able to convince the audience that they are in a realistic film world. Unfortunately we are never transported into that world, we are all too aware that this is an opera sung on stage, albeit lip-synched.
The original Decca DVD sported a very soft, grainy transfer in fullscreen (pan & scan), littered with dirt specks and film nicks, looking very much like a poor quality VHS tape and this DG reissue looks no different. I can do without the DTS remix. This was recorded in stereo and the original release, in addition to a Dolby 5.0 surround, already had an excellent uncompressed Linear PCM audio track with quality equivalent to that of a good CD.
The original Decca release received mixed reviews. Aurally it is superb, one of the finest Butterflies ever. Visually it is close to a disaster. If you believe opera is only meant to be listened to, then this will be a top choice. If you believe opera should be an experience for both the eyes and ears, then pass this by. Even today, I still play the old Decca DVD, but only to listen to. I leave the TV off.Note: It's not strictly correct to say that the singers were dubbed post-production. This movie has a curious history. It began as an audio-only studio recording with the exact same cast except that Luciano Pavarotti sang the role of Pinkerton. That recording was made in early 1974 at the Sofiensaal in Vienna. It received critical acclaim. The decision to make a movie using that original recording as a soundtrack came later that year. For the movie, they re-recorded Placido Domingo in the role as Pinkerton and spliced it into the earlier recording of the original cast. So the performers are in fact miming or lip-synching to the pre-recorded music while the film was being shot.Puccini - Madama Butterfly (1974) OverviewPUCCINI:MADAMA BUTTERFLY - DVD Movie

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