Halevy - La Juive / Shicoff, Stoyanova, Fink, Ivan, Zhang, Daniel, Monarcha, Sutej, Vienna Opera

Average customer rating:

If Vengeance Won't Bring Them Back, What Will?

SHICOFF WAS BORN FOR THIS ROLE

A huge drama with a giant in the center

Grand but demanding

Shikoff rules!

Halevy - La Juive / Shicoff, Stoyanova, Fink, Ivan, Zhang, Daniel, Monarcha, Sutej, Vienna Opera
Starring: Neil Shicoff , Krassimira Stoyanova , Walter Fink , Simina Ivan , and Vjetsoslav Sutej
Manufacturer: Deutsche Grammophon
ProductGroup: DVD
Binding: DVD

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ASIN: B0002UNQGS
Release Date: 2005-01-11

Customer Reviews:

If Vengeance Won't Bring Them Back, What Will?.......2007-07-23

This is one I kind of picked on a whim, as it were. It was the rare instance where the librettist's name was more familiar to me than the composer's. Eugine Scribe is also well-known as a playwright of his time, and a librettist for other French grand opera composers (if memory serves, he provided libretti for Verdi, Donizetti, and Meyerbeer).

Jacques Fromental-Halevy (1799-1848) is not remembered today, other than as the teacher of Saint-Saens, and the composer of this opera. To give an idea of what his music sounds like, bear in mind that he is a half-generation older than Wagner, Verdi, and Schumann, and younger than Rossini by about the same distance. The famous composer he is closest to in terms of age is Bellini -- but this is merely a coincidence. Halevy's orchestration is heavier, more fully worked-out than Bellini's, but his melodic gift is not on par with the Sicilian's.

In any event, the overture, with its busy strings and full-bodied brass choir, is reminiscent of late Rossini (the rich, brassy orchestration of the overtures to "La Gazza Ladra" and "William Tell" spring to mind). Although not as fully developed as Rossini's pieces, there is one moment toward the overture's end that is particularly effective. The entire orchestra, having just finished a long crescendo capped off by strong accents, rests for a measure -- the tension is enormous. On my listen, I figured Halevy would recapitulate the opening tune, quietly, perhaps in the winds, and then build back to a large coda. Instead, the orchestra jumps out of the silence right into the coda, which features massed brass and strings playing a new theme (a reharmonized, extended version of the opening). Highly effective.

On to the performances themselves. This is not a "pretty" production -- that is, it seems that the players were selected for their acting ability and suitability for the roles. That is to say, Neil Shicoff absolutely becomes (or is) Eleazar. It's hard to imagine someone more physically suited for the role. However, his voice is not the best -- it is, at least, good enough.

The same goes for Walter Fink, as Brogni -- although here, the suitability to the role is more questionable than Shicoff (although, it should be noted, no one has ever been more perfectly cast). Fink does not project enough personality in the role; his Brogni is too anguished, too full of self-doubt. To the credit side of the ledger, this teases out the question of the legitimacy of the daughter (that is, whether Eleazar is lying to Brogni about the girl's identity). Fink's voice, too, I found unappealing. It is awfully buzzy. Again, though, the same could be said of Shicoff's voice, so perhaps the voices were well-matched. Nonetheless, Fink has the best piece in the opera, his Act I Cavatine ("If they ignore your sacred law").

After having watched it several times, the thing that really stands out is Scribe's libretto. The "doubling" of scenes (Christians having a procession on one part of the stage, while Jews pray on the other) is particularly effective. In all, the libretto manages to cover quite a bit of ground without losing its dramatic "snap."

Strongly recommended for fans of grand opera of the Verdian stamp.

SHICOFF WAS BORN FOR THIS ROLE.......2007-05-22

I WAS REALLY SURPRISED THAT THIS OPERA, RARELY PERFORMED, WAS SO WONDERFUL. SHICOFF WAS BORN FOR THIS ROLE. HIS VIDEO OF RACHEL, AN EXTRA INCLUDED IN THIS DVD, IS EXCELLENT. AN UNFORGETABLE OPERA BY AN UNFORGETABLE TENOR.

A huge drama with a giant in the center.......2005-07-07

The costuming of this opera, presumably set in 1414, reminds me more of the early 1930s than the turn of the last century. It is chillingly real, especially by acts IV and V. The DVD is, I believe, a record of a 1999 performance in Vienna. I saw Shicoff perform in this same production in New York in 2003--and he was devastating. I don't know if a different tenor would have had the same effect. There were rumors that Domingo was contracted by Vienna long ago to do this, but somehow never got to it. I have no doubt he would have been superb: this is not a case of "you have to be Jewish." After all, Caruso wrapped Eleazar around himself and is still the shadow against whom all tenors measure themselves. For whatever reason, Domingo withdrew and I can guess that Shicoff took up the cause to get this thing mounted. He is a natural. As he explains his working methods on the supplemental "Finding Eleazar," he is a high-strung nervous person (no kidding) who has to use those qualities to deliver his dramatic impact. Use it he does. "Rachel quand du Seigneur" knocks the wind out of you; he is caressing and snarling and vindictive; there is no point when he's onstage that you can't sense his total commitment to the role and the story. Nobody else is bad...Stoyanova is excellent...but I miss the incomparable Ferruccio Furlanetto, who was a tremendous Cardinal Brogni in New Yori

Grand but demanding.......2005-03-13

Grand 19th Centruy operas have been long out of style. Halevy's La Juive deals with the corrosiveness of hate in frank and disturbing way. It isn't an easy opera to like, but it is a significant work of art. It must have been a shocker in 1835. The plot seems to relfect conditions in the modern mmiddle East.

Musically it contains a series of fine arias combined with large choral interludes. All the singers get a chance to show off. All take full advantage of the opportunity. Shicoff is supurb, but all do well. Walter Fink's deep bass is particualrly effective as he tries to avoid the final tragedy.

The sets and production are ordinary and unhelpful. Dressing all the bad guys in white and the good guys in black was an unwise choice. The production confuses rather than enriches the opera.

The opera and the cast deserve a first rate production.

Shikoff rules!.......2005-02-28

I love Grand Opera. What a kick! And I've always had a passion to see Juive - probably because of the fiery ending. Turns out its not much here - some men in red inquisition robes rush on stage and surround Rachel. Not spectacular, but effective. I finally heard Juive in the Carreras recording. But this is something else again. I was not put off by the unit set. It made sense - the great divide between the Jews and Christians. Vienna created a good performing version of this over four hour work. I followed along with the Carreras libretto - and the choices of Vienna were best - especially losing the ballet which would have broke the tension and plot arc. The singers are quite good. I especially relished the rich bass of Walter Fink. But make no mistake - this is Neil Shikoff's night. And his rendition of "Rachel, quand le dieu" in the fourth act had me breathless and brought down the house. This is the performance of a lifetime - something we see all too seldom. For Shikoff alone this is worth it for any opera lover.

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