Product Details

• Amazon Sales Rank: #11623 in DVD
• Released on: 2002-09-24
• Rating: NR (Not Rated)
• Aspect ratio: 1.33:1
• Number of discs: 1
• Formats: Classical, Color, Dolby, DVD, NTSC
• Original language: Italian
• Subtitled in: English, French, Spanish
• Number of discs: 1
• Running time: 137 minutes

Customer Reviews

A Terrific Ballo!!!
It's great to finally have this BALLO on DVD! This has always been one of Verdi's best works and it is handled here with a terrific cast and conductor. I prefer this recording to the medicore BALLO from 1980, also with Pavarotti, but Ricciarelli and Quilico are nowhere near as effective as Millo and Nucci. NOt to mention, this production, with a historically acruate setting of Sweden, is much more pleasing on the eye than the barren attempt to recreate colonial Boston of the older production.

BALLO falls flat without a strong tenor, and here we have Luciano Pavarotti, in his mid-fifties, and still producing one of the best tenor sounds out there. THough his voice is clearly darker and heavier than what it was in 1980, he still handles all the top-notes with ease. On top of all that, this is the role that he seems most comfortable with- and it shows! He actually attempts to act at times and his death scene is surprisingly very touching and effective.
Aprille Millo is heard here in the midst of her short-lived zenith. She sings quite possibly the greatest "Ecco L'Orido Campo" I have heard at the start of the second act.
Leo Nucci doesn't have the most elegant voice, but he manages to do an excellent job in this and clearly edges out the competition (Quilico & Cappucilli) on the competing versions.
Strong support comes from mezzo-soprano Florence Quivar and soprano Harolyn Blackwell as Ulrica and Oscar, respectively.
James Levine keeps it all together very well and, once again, proves himself a Verdi specialist.

Ballo at the Met
After hearing to this wonderful performance, I couldn't avoid and started to compare it (mentally) to the Met's DVD of this same opera taped in 1980. Both have their strong and weak points:

1- The production: Both Moshinsky (1980) and Faggioni (1991) offer the viewer rather conventional productions that, however, work very well, being inobtrusive to the action (something essential to me).

2- The conducting: Personally, I prefer Giuseppe Patane's (1980) to James Levine's (1991). Sometimes Levine doesn't underline certain moments where this would be most welcome and can also be a bit crude, but these are minor quibbles. Both he and Patane were on the helm of one of best orchestras in the world, so nothing could go wrong.

3- The singers: PAVAROTTI's voice is clearly heavier and darker in 1991 rather than in 1980, but his is a performance to treasure (in both productions). He is to me, the one who best knows how to perform this character. Just watch, in both productions) the way he acts when he learns from Ulrica that he will be murdered. He almost has Gustavo (Ricardo) in his blood. APRILE MILLO is a very good singer, with a nice, resounding voice and with very good acting abillities (just watch her "Morrò, ma prima in grazia"). Her Amelia is a very moving portrayal. I just would like her to sing a little more pianissimo in some moments, which I know she can but, some how, doens't manage to do. KATIA RICCIARELLI in 1980, has a more sweet, less powerful voice, and she, like Millo, plays Amelia with great sensivity and care for the music. Both Amelia's are very good, among the best one can come across with. In my own opinion, both Renato's (almost) steal the show. QUILICO (1980) and NUCCI (1991), though possesing different timbres manage to express, at first, the deep faithfulness of Renato for his King and then, the humiliation and the rage the character feels. QUILICO is the most 'regular' (his first aria is wonderfully sang), NUCCI has a somewhat shaky start, but both reach to great heights as the opera progresses. both do entire justice to Renato's music. Ulrica has always been a difficult character to bring off, because it is only present in one act and because it needs a very low female voice. BIANCA BERINI (1980) and FLORENCE QUIVAR (1991) lack this last, specially the first. Beyond that, BERINI'S voice is not as full as QUIVAR's. Despite this, they both hold their own against the rest of the singers, though QUIVAR seems to me more effective. The only singers who really bring off Ulrica are, in my opinion, LUDWIG (with Solti) and COSSOTTO (with Muti). The Oscar of HEROLYN BLACKWELL (1991) is very well sung and acted, but I prefer JUDITH BLEGEN's (1980) more refined portrayal (specially in vocal terms). Sam and Tom (Horn and Ribbing) are well cast in both productions. WILLIAM WILDERMAN and JULIAN ROBBINS (1980), TERRY COOK and JEFFREY WELLS (1991), have all good voices and make a nice impression.

In way of conclusion, I think both performances are excellent with any weak link. It all depends on the singers one may prefer.

Super Opera.... The Best Ballo!!!!!
I am, as you might glisten from the title, a big fan of this production. It is right on, from begging to end. the Metropolitan goes with Verdi's original, set in Sweeden.
Pavarotti is in his very best form as Gustav. He has often written that he has a special identification with the Role, we can tell. he really tries to act. He is incredibly believable. He looks like a Big, naieve, fun loving Aristocrat, who waxes melodramatic. pavarotti brings this straishtforward across wonderfully. his voice rings solid throuought.
April Millo is just smashing, no complaints. her Amelia is perfect, and the audience knows it, showering her with praise after her 3nd act Aria.
Her tone is dark, and there are no issues with vibrato as stated elsewhere. Visually she works well with Pavarotti, they are both middle aged and large. this is not to say that Millo is not beautiful, for she is. But is is just the type of beauty that is appropriate for Pavarotti's Gustav.
To me, Leo Nucci streals the show. His Renato (Ive forgotten the swedish equivalent) is incredible. his high notes go right to your ear. The resonace is so alive. The A flats and G's are right on pitch with no strain. As an actor he bumbles around the stage capable, a very grumpy character, always scowling. One could understand the coolness between he and Amelia.
The Ocscar of this production, the name escapes me, deserves special mention for a incredible soprano tone and energentic acting.