Top-Twelve Film Versions of Operas (with links to full reviews) ♫
Dec 20 '05 (Updated Jul 22 '09)
The Bottom Line If you love opera, check out these top-notch cinematic renditions.
Filmed versions of operas are generally of two types, either fully opened up cinematic renditions or filmed stage productions, possibly with some editing flourishes. Generally, the former type make for more satisfying film viewing experiences than the latter. Filmed stage productions may nevertheless be musically satisfying and sometimes even more to the liking of opera purists. In choosing my list of the top film versions of operas, I've considered mainly four issues: (a) the vocal quality of the cast; (b) the adequacy of the sound engineering; (c) the appeal of the opera itself; and (d) the cinematic quality of the production. Among the factors contributing to the cinematic quality are the physical appeal and appropriateness of the casting, the camera movement, angle, and distances, and how much the production has been opened up to take full advantage of the potential of cinema.
1. La Bohème
Puccini's work is so inherently dramatic that it defies the conventional wisdom that opera is not very cinematic. This magnificent production directed by Franco Zeffirelli features gorgeous sets with painted backdrops to provide a visually poetic counterpoint to the powerful music. Mirella Freni as Mimi and Adriana Martino as Musetta are outstanding. The lead male performers, Gianni Raimondi as Rodolfo, Rolando Panerai as Marcello, and Ivo Vinco, as Colline, are also very good. The casting is both physically and vocally appropriate.
2. Turandot
Although this DVD is a filmed live production, talented Chinese director Zhang Yimou has rendered the recording unusually cinematic by special editing and filming techniques, along with usual visual splendor. The colorful, imperial-era costumes and incomparably lush sets together with the unique setting in the great Forbidden City make this opera event a very special one. The soloists are strong and Zubin Mehta conducts the orchestra with lively intensity. The choreography is exceptional, utilizing hundreds of extras strewn across the massive stage. Zhang integrates dissolve shots of gorgeous scenic locales from around China (where the dialog alludes to such), occasional double exposures, and a variety of shot angles and distances to produce a distinctively cinematic experience.
3. La Traviata (Strada)
For this exceptional opera film, Franco Zeffirelli provided some of the most opulent and luxurious sets and costumes ever created. Sparkling chandeliers, real gas lighting, beautifully color coordinated sets, and magnificent period costumes are further highlighted by some charming outdoor settings. Zeffirelli also made creative use of double-exposures, nature close-ups, and streaming lighting effects, without distracting from the music or drama. Act III ("The Demimonde Ball") features a magnificent bit of ballet (including two stars from the Bolshoi), as well as a delightful chorus ("We Are Young Gypsies") sung by the Metropolitan Opera Chorus. The lead performers, Teresa Stratas and Plácido Domingo, are pleasing to look at, physically appropriate for their roles, and fine actors as well as vocalists.
4. Boris Godunov
This production has been fully opened up, utilizing magnificent on-location outdoor settings along with castles and gardens in the Kremlin and Poland. The photography is magnificent, as when the film opens with a gorgeous and surreal view of snow falling in Moscow. Director Vera Stroyeva makes splendid use of shadows during Boris's descent into madness in Act II. The costumes are another highlight. Mussorgsky's operas are the most "masculine" in the operatic repertoire in both subject matter and voices. Russia basses and baritones are typically among the best in the world. Aleksandr Pirogov, the bass who played Boris, gives an impassioned performance, both physically and musically. The chorus is also superb, which is important for this opera because the chorus – standing for the Russian people – acts effectively as another character. There is a companion filmed version of Khovanshchina (1960), which I would have included near the top of this list were it more readily available.
5. I Pagliacci
Readers can surmise the importance that I attach to Franco Zeffirelli as a director of filmed opera by the fact that this is the third of his films in my list and in the #5 spot. One special touch that he's applied to this film version of a magnificent opera is the manner by which he visually establishes the atmosphere during the overtures for each of the two acts. The great Plácido Domingo performs both the vocal and dramatic demands of the title role flawlessly. Teresa Stratas, who plays Nedda, is one of the world's great sopranos, with a rich, smooth lyric voice, and is one of the best actresses among opera divas. Baritone Juan Pons is very effective as Tonio. The renowned George Prêtre conducts the Orchestra of the Teatro alla Scala of Milan.
6. Carmen
This adaptation by Francesco Rosi is among the most cinematic opera renditions available. Rosi takes a highly realistic approach to the opera in both settings and performance style. The result is a performance of great fire and passion. The cinematography features striking bright reds and yellows, except in the smuggler's den, where mossy greens, tans, and grays predominate. This film was shot on location in Andalucia and the overture plays against an actual bullfight. The soundtrack was recorded in Paris, with Loren Maazel conducting the National Orchestra of France. The voices of the singers were post-dubbed. Julia Migenes sings the title role and has the saucy look and smoldering sexiness that the part demands. Vocally, she is very good, if a shade below the standards of the world's top divas. Plácido Domingo is in fine voice in the role of Don José though a bit too old and too heavy for the part, at this stage in his career.
7. The Magic Flute
Bergman took a unique approach in this tribute to Mozart, setting out to recreate the atmosphere of the original stage production and then augmenting the taped version with distinctly cinematic flourishes. The theater audience is incorporated into the film version to an unusual extent. Instead of either post-dubbing the music or recording it live, Bergman prerecorded it and played it over loudspeakers during the physical performance, so that the lip-syncing would be as flawless as possible. In casting this rendition, Bergman gave highest priority to physical suitability, which adds to the film's visual appeal, though also detracting a bit from vocal quality. None of the voices are markedly deficient, however. Baritone Håkan Hagegård, as Papageno, turns in the best vocal performance as well as the best acting performance.
8. The Barber of Seville
Rossini drew his melodic inspiration for this opera from Neapolitan folk music. The cast for this recording is top-notch. Luigi Alva, a top lyric tenor in his day, plays Count Almaviva. The great mezzo-soprano Teresa Beganza sings the part of Rosina. Hermann Prey, a highly regarded German bass-baritone, is magnificent here as Figaro. The two bass roles are filled by Enzo Dara as Bartolo and Paolo Montarsolo as Basilio. Montarsolo's rendition of the great aria La calunnia è un venticello is the dramatic highlight of the film and quite musically stirring. Claudio Abbado conducts the members of the La Scala orchestra.
9. Rigoletto
Jean-Pierre Ponnelle (1932-1988) directed about sixteen cinematic renditions of opera, beginning with The Barber of Seville in 1972 and ending with Cosi fan tutte in 1988. His productions are always visually splendid, filled with color, pageantry, and superb choreography. Here the sets are both lavish and atmospheric. Ponnelle adds occasional editing flourishes, such as in the trio at the tavern. Ponnelle uses post-dubbing to ensure optimum auditory quality and the lip-synchronization is pretty good. Ingvar Wixell, a world-class baritone and fine actor, plays Rigoletto with great subtlety. The great Luciana Pavarotti is on hand for the role of The Duke of Mantova. His vocal performance is top-drawer and his acting passable. Edita Gruberova, the most acclaimed of the true coloratura sopranos of recent operatic history, sings the role of Gilda. The secondary roles are also well cast.
10. Don Giovanni
It's nice to see an opera directed by an individual experienced with directing a general range of films as well. Joseph Losey certainly qualifies in that respect. His great film The Servant (1963) won three BAFTA awards. Accident (1967) shared a Special Jury Prize from the Cannes Film Festival, and The Go-Between (1971) won the Palme d'Or at Cannes. The vocal quality of the cast for this recording is superlative. Ruggero Raimondi, in the title role, has a warm and full baritone voice with a lot of strength in the upper part of the range. Kiri Te Kanawa, cast as Elvira, is both physically and vocally lovely. Edda Moser and Teresa Berganza are also superlative in the other lead female roles. José van Dam, who plays Leporello, has a strong baritone voice and Kenneth Riegel is satisfactory in the major tenor role, Don Ottavio. Some of the cast members are effective actors, some less so. Unfortunately, the soundtrack is poorly engineered and the lip-syncing is often noticeably off. The film was shot at the gorgeous Palladio's Villa Rotonda. Losey incorporated some "artsy" touches.
11. Il Trovatore
This version of Il Trovatore is a recording, directed by Riccardo Pellizzeri, of a live performance that took place on Saturday, July 2nd, 1983 at the magnificent Sydney Opera House. The sets designed by Sidney Nolan are attractive but minimalistic, leaving the full emphasis on the performances and Verdi's magnificent music. The costumes designed by Luciana Arrighi are impressive. Sydney-born Maestro Richard Bonynge conducts the orchestra of The Australian Opera. The vocally magnificent Joan Sutherland plays Leonora. Her magnificent soprano voice has the clarity of a flute but the power of a trumpet. Kenneth Collins (tenor) and Jonathan Sumers (baritone) both provide fine performances in the roles of the brothers, Manrico and Count di Luna.
12. La Traviata (Moffo)
Mario Lanfranchi directed his wife, Anna Moffo, in this production with is very nearly a recording of a stage performance. The sets for Act I, with a gold motif, are excellent, but thereafter are no match for the Ziffirelli production (see #3 above). The stage business with the chorus is comparatively weak. Lanfanchi uses fluid camera movements, a nice variety of angles, and lots of close-ups of Moffo's face. The soundtrack is better in this version than for Ziffirelli's. It's hard to choose between Moffo and Strada. Strada is a bit more emotionally expressive than Moffo but Moffo is a woman of unsurpassed beauty. Both give excellent vocal performances, but Moffo's performance of her share of the duet with Alfredo is utterly stunning. The rest of the cast in this version is less talented than in the Ziffirelli version. Giuseppe Patane conducts The Orchestra and Chorus of the Rome Opera for this film.
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Bonus: Some Films Featuring Opera Music in their Story or Score: (Alphabetically):
Carmen (Dance Version) (1983) Country: Spain Director: Carlos Saura Featured Composer: Bizet Rating: * * * * *
Diva (1981) Country: France Director: Jean-Jacques Beineix Featured Composers: Catalani and Gounod Rating: * * * * *
Farinelli: Il Castrato (1994) Country: Belgium Director: Gérard Corbiau Featured Composers: Broschi, Hasse, Händel, Pergolesi, Porpora Rating: * * * *
Jean de Florette/Manon (1986) Country: France Director: Claude Berri Featured Composer: Verdi Rating: * * * * *
1900 (1976) Country: France Director: Bernardo Bertolucci Featured Composer: Verdi Rating: * * *
Ossessione (1943) Country: Italy Director: Luchino Visconti Featured Composers: Bizet and Verdi Rating: * * * *
Senso (1954) Country: Italy Director: Luchino Visconti Featured Composers: Bruckner and Verdi Rating: * * *
The Spider's Stratagem (1970) Country: Italy Director: Bernardo Bertolucci Featured Composer: Verdi Rating: * * * * *
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You might enjoy this list relating to classical music:
Top-Ten Non-English Language Films Featuring Classical Music
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You can easily access all my other opera reviews using the following lists:
Metalluk's Twenty Best Pre-Romantic (Baroque & Classicism) Operas, on DVD
Metalluk's Twenty-five Best Italian Romantic Period Operas, on DVD
Metalluk's Twenty Best Non-Italian Romantic Period Operas, on DVD
Metalluk's Thirty Best Operas of the 20th-Century, on DVD
Metalluk's Best Opera from Each Decade of the 20th-Century, on DVD
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