List Price: $29.98You Pay Only: $19.97 You Save: $10.01 (33%)Prices subject to change.
Availability: Usually ships in 2 to 3 weeks
Aspect Ratio: 1.77:1
Audience Rating: Unrated
Binding: DVD
EAN: 0044007433126
Format: AC-3, Classical, Color, Dolby, DTS Surround Sound, DVD-Video, Subtitled, Widescreen, NTSC
Label: Decca
Manufacturer: Decca
Number Of Discs: 1
Number Of Items: 1
Publisher: Decca
Release Date: October 28, 2008
Running Time: 152 minutes
Sales Rank: 8835
Studio: Decca
Theatrical Release Date: 2008
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Editorial Review:
Description:
Jonas Kaufmann and Anna Caterina Antonacci bring rare erotic intensity to the drama of Don José and Carmen in this darkly passionate reading of one of the most popular operas. Kaufmann uses his burnished tenor and smouldering good looks to portray the man undone by Carmen's love. As the object of his desire, Antonacci gives a physical and compelling performance.
Customer Reviews
Average Rating: 
Rating:  - Call it Don Jose.
In plain English, Jonas Kaufmann steals the show. Not that everyone else is not good, but he is so intense in his singing and acting that the performance becomes exciting and electrifying when he is on stage. Buy it--you'll like it.
Rating: - The cast is uneven, but the main cast saved it ALL.
Oh, yes, the conductor had a few 'mishaps' in certain places, and the supporting cast of Micaela and Escamillo are not nearly as good as the leading roles of Carmen and Jose, but overall, this production is about the most entertaining and riveting available on DVD so far, and the 'smaller' roles of the Gipsy camp, are in fact nearly as good as the two leading ones.
Antonacci is a 'soprano' Carmen - this is the first time I see and hear about her, and the impression is not as bad as some critics would allege. Though she is no Berganza, Baltsa, Kasarova, Borodina..., she is every bit as good as Grace Bumbry (with Jon Vickers), and tons better than Julie Migens (with Domingo).
Then Kaufmann's Jose is nothing short of a revelation. I don't see why an opera singer would need to do funny things on stage in order to attract attention or 'upgrade' his/her performance. Kaufmann chiefly 'park and bark', as one diva says and claims that it would not work for modern day opera singing. HOWEVER, Kaufmann's way of 'parking' and 'barking' is intrinsically linked with the role that he is singing. There is absolutely no need for a singer to dance around the stage, or doing all sorts of 'funny' things like twisting of body truncks, throwing up of limbs, or grimacing of features, or dressing up in outrages outfits. No - none of such nonesense. Mr. Kaufmann teaches opera singers what ACTING is. I wonder if he has been to a drama school, but would not be surprised if he is being honored by such an institution ... Read More
Rating: - For Don Jose, a real breakthrough.
This production in a way is a major breakthrough for the male protagonist - Don Jose.
Soprano Anna Caterina Antonacci is a very competent Carmen - in fact, in terms of acting, among the best available.
Other supporting roles like Escamillo and Micaela, however, are not much of a big deal by comparison.
So you would see that this production is unconventional in the sense that the star of the show shifts to Don Jose. And luckily his Carmen is both vocally and dramatically competent as his big 'supporting role'.
This is not a bad idea, either. If hitherto nobody holds much interest or pays much sympathy to this 'mama boy' Jose in Bizet's Carmen, Jonas Kaufmann managed to turn the tables around thoroughly.
His Don Jose is real human flesh and blood. Watch Jose's emotional evolution as the drama unfolds is thrilling experience. Even if Kaufmann has sung better versions of the Flower aria elsewhere, his performance here still steals the show as no Joses did before. And Herr Kaufmann rightfully claims the title of being the Mr. Acrobat of operas, the successor to Cesare Siepi who leaped over 15 feet on stage as Don Giovanni under the baton of Furtwangler at Salzburg more than half a century ago.
One question emerges, though - why the heck does Carmencita forsake Don Jose for the lacklustre Escamillo?
Rating:  - A ONE STAR PERFORMANCE
What a budget production! I've seen better scenery at high school musicals. Anna Antonacci brings nothing new or exciting to the roll of Carmen. Idebrando d'Arcagnelo as Escamillo has no business singing this roll in a major house like the Royal Opera. Norah Amsellem is very good as Michaela but try counting the number of times conductor Antonio Pappano can't keep his orchestra in sync with the singers on the stage. If you're going to buy this DVD it will have to be for the great singing and acting of Jonas Kaufmann. What an operatic future this young man has!
Rating: - This Carmen Trumps All
I had great expectations for this DVD. First reviews were very good; secondly the cast promised great things on paper. For once it isn't necessary to hedge, qualify or equivocate in reviewing a DVD. I know the opera is called Carmen and Antonacci is wonderful, sexy vital and sings quite beautifully. My greatest enthusiasm. however, must go to Jonas Kaufmann's Don Jose. Quite simply it is the best sung and acted Jose I have ever seen or heard. Kaufmann clearly has thought about the character and the music as so much intelligence has gone into the creation we see on stage that I simply can't see it being bettered. Here is a tenor with brains, imagination and the intelligence to see light and shade in Jose's music. Most tenors go at full throttle, screaming out high notes and generally think that Jose is a verismo tenor. Well, he isn't; he is a complex conflicted man and Kaufmann brings this all to the character. The imagination he brings to the Flower Song is even better than Gedda's first go around with the role with Beecham conducting; by the time he recorded it a second time he was content to play the "tenor" to his Carmencita, Maria, content with going for volumn alone.
The remainder of the cast is more than first rate, with a fine Michaela from Norah Ansellem and Ildebrando D'arcangelo a properly arrogant Escamillo. Pappano provided wonderful support with the ROH playing beautifully.
The edition used was Oeser which has been savaged by music scholars and critics. I am not ... Read More
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