Editorial Review

This smart, tautly directed thriller from Wolfgang Petersen is about the cat-and-mouse games between a Secret Service agent named Horrigan (Clint Eastwood) and the brilliant, psychopathic assassin (John Malkovich) who's itching to get the President in his cross hairs. The back-story--Horrigan is haunted by his inability to prevent John Kennedy's assassination (Eastwood is computer-generated into archival footage)--is more than a little hokey, but the plotting itself is smartly, even ingeniously, constructed. Petersen manages a viselike grip on the tension and Eastwood even gets to deliver an ever-more-timely lecture on the diminished nature of the office of President. Eastwood's as gruff and as infuriating to the by-the-book Powers That Be as ever, and Malkovich oozes delightful menace. Renee Russo capably costars as a colleague with whom Horrigan gets friendly. Read more

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Reviews (65)

John Malkovich is Great.
Movies about presidential assassinations (whether fictional or non-fictional) are usually lame. They follow the same formula and they always end the same. I guess, technically, "In the Line of Fire" is nothing new for this kind of movie but it's got an exciting plot, awesome acting, and well basically...Despite the familar formula, it's a damn good movie. Clint Eastwood plays a Secret Service agent named Frank Horrigan, who is still haunted by the fact that he could've saved Kennedy from being assassinated had he reacted quicker. Since this incident, Frank has been reduced to a drunken under-cover Secret Service agent who longs for something meaninful to happen. It does in the form of Mitch Leary (John Malkovich, in an Oscar nominated performance). After Frank follows up on a tip that Leary may be up to something, he recieves a phone call from Leary who tells him that he is going to assassinate the Presidents. It seems doors are re-opening for Frank. As Frank and Leary begin talking to each other over the phone, while Frank and the rest of the agents descend upon the case it becomes clear that Leary is no ordinary crazy assassin. Rene Russo co-stars as Lilly Raines, a female Secret Service agent and the love interest of Frank. Dylan McDermott also co-stars as Frank's partner Al. Anyway, the plot is good...It has its moments of predictability, but I actually must admit that Leary's decision at the end genuinely surprised me. Anyway, I don't watch many Eastwood movies (I've only seen some movies he's directed, Any Which Way You Can, Escape from Alcatraz, and that's about it); I think, in all, I've seen 5 movies he's acted in. But I can honestly say that this is, probably, one of his strongest performances. Malkovich is what made me want to see this movie, the man is an amazing actor folks. Every film I've seen him in, he fascinates the viewer. Here, the casting doesn't get much better for his role. I can't think of another actor who could play Leary as well as Malkovich. I'm not sure if it was Tommy Lee Jones (The Fugitive) or Martin Landau (Ed Wood) he lost the Oscar to, but this is a completely Oscar worthy performance here. Russo is good (she has the strong look of a career woman, but can be vulnerable to Franks "charm."), as is the rest of the cast.
Outstanding.One of my favorite Clint Eastwood Titles...
Review Clarification:This review is based on my viewing of this movie in the theater, and on Laser Disc.I have not viewed the DVD (any version).
Destined for the Classics
I'm convinced that if this movie were to hit the theaters this upcoming weekend, it would be a hit - again! It is just so very well done (and would surely be a relief from all the foof that is playing now.)
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Editorial Review

John Gay's Read more

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Reviews (9)

RETRAIN ME BACK!
This is an excellent show.I first saw it on PBS.Roger does a great job, not what you would expect.The fun back story is that Roger had to be classically trained to do this part and when he was done, he found he couldn't perform 'Who' music.He went back to the vocal coach in a panic and he 'retrained' Roger to go back to singing in a 'rock' voice.He was fine then, once he would scream properly!
Gritty Beggar's Opera On the Whole a Success
To those reviewers who long for the Olivier version and who think of The Beggar's Opera through the charming lens of the 1920s revival: Gay would be spinning in his grave if he ever heard someone use the word "romantic" in conjunction with his acid little play.I know that the play took on a life of its own, and was revived virtually every season throughout the 18th century, but let's not forget that he was out to write a scathing satire of the political and social corruptions of his day: the very idea of having a beggar write an "opera" for the marriage celebration of two catch-singers seemed so outrageous that the audience wasn't sure whether or not to boo it offstage until the middle of the first act.Audiences in 1728 loved it because it ridiculed rich and powerful political figures while it skewered the pretensions of Italian opera and opera-singers; audiences afterwards got charmed by the songs and by the mythology of its characters, as the play lost its immediate topical sting.
(none)
A very good preduction overall if not slightly 'uncut'...however, all those other reviewers who say that the olivier version has 'disapeared' should try looking on the amazon.co.uk website where it is available on either region 2 dvd or PAL video. ... Read more

Subjects:  1. Classical    2. Opera / Operetta / Oratorio    3. Opera/Operetta    4. Performing Arts    5. Performing Arts - Opera   

Editorial Review

Critics may remain divided over Andrea Bocelli's operatic credentials, but the popular verdict long ago crowned thesightless tenor as a crossover champion, a victory that will only be reinforced by this handsomely produced video companion to Read more

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Reviews (10)

Stunning audibly and visibly
Absoltely stunning.Each performance is a masterpiece.Moreover, the DVD is engineered to movie standards, which is far from the case with many music DVDs.

Special Edition with both DVD & CD is available
Instead of this DVD alone, I suggest the Bocelli, Andrea : Sacred Arias CD & DVD Special Edition (ASIN: B0000CE9VO).It includes the full 77 minute concert on DVD, plus the two bonus tracks on the DVD, plus the full 72 minute CD. This includes two bonus tracks on the CD not available on the original CD. Amazingly, the Special Edition is a few dollars less than the DVD alone.What a bargain!This is an amazing concert with a tremendous picture quality on a big screen TV.It is one of those DVD's that captures the feeling of "being there".A must-see for any Andrea Bocelli fan.

Bocelli and Myung-Wung Chung: A stellar combination
A beautiful DVD!Read more

Subjects:  1. Classical    2. Classical Artists    3. Classical Vocals    4. Music Videos - Classical   

Editorial Review

For those who want a home video that preserves the kind of treatmentVerdi's Read more

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Reviews (18)

A great Otello with a weak link
Verdi's "Otello" is one of the greatest 19th century operas. If in "Regoletto" the revolutionary idea of music drama was still in its initial stage, then in "Otello" Verdi, at seventy-three years of age, had fully realized the idea. Shakespeare's drama Othello couldn't be a better subject to develop a music drama, and Arrigo Boito's libretto was created for Verdi's miraculous music power. The grip is on right from the extraordinary beginning storm scene, and continuously the drama goes non-stop till the last note of the opera. Little will you hear the enchanting tunes that were abundant in earlier Verdi operas. In "Otello" music embraces the libretto as a whole, vitality and power emerges from within.
Splendid
This is a rather traditional, if spare, presentation of Verdi's masterpiece with a superb cast.Domingo and Te Kanawa are at their peak and both sing and act magnificently.The real surprise for me was Leiferkus, whom I have seen in person in the past and have not enjoyed; here, however, he is absolutely marvelous.In short, you can't go wrong with this DVD, which should make a fine companion piece to the later film of Domingo and Fleming at the Met. And how poignant it is to see Lady Diana applauding from the audience during the curtain call.

Otello Supreme
There are so many wonderful facets to this version of Verdi's Otello, and once you see it there will be no doubt in your mind that it's easily the best production out.
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Subjects:  1. Classical    2. Opera / Operetta / Oratorio    3. Opera/Operetta    4. Performing Arts    5. Performing Arts - Opera   

Editorial Review

It's hard to know what to make of this full-length, lavishly produced concert by Sarah Brightman, a singer and performer who seems to have been born a half-century too late. Had she come on the scene in the 1950s, when Broadway musicals were a career stepping-stone to recording contracts and TV variety-show guest appearances, Brightman could have had a Julie Andrews-type career. But Brightman, one-time companion of Andrew Lloyd Webber (who gave her the starring role in Broadway's Read more

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Reviews (105)

The review from the guy " What Is This?"
The guy must be a nut case! This is a lavishly concert and I enjoyed it a lot! I played it with a high-end Sony TV and a Sony VCR and I can tell she actually sang. There may be some technics to enhance her voice....She is not a thin model like the "standard" now a day but she is NOT "pudgy". She is quite attractive at her age! Her voice is important because she is just not a Pop singer like Britney! The arrangements are sophisticated so maybe some people don't understand I think.

What is this?
I strongly recommend you to rent this DVD before buying - I am sure it will save you some good money.
Editorial review is ridiculous!
"Born half a century too late" oh really?
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Subjects:  1. Adult Contemporary    2. Music Videos - Classical    3. Musicals    4. Pop    5. Pop Vocals    6. Show Tunes    7. Vocal   

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Reviews (1)

Ghiaurov is awesome!
Justly hailed as one of the greatest voices of all time, Bulgarian bass Nicolai Ghiaurov has a tremendously rich repertoire, of which only a glimpse is shown on this video.This extraordinary man is known forkeeping a low profile, so to speak; even though there is an immenserecording legacy (still growing), there is little of the usual hypeassociated with great artists.In this video we briefly see his journeysaround the world and his getting ready for a performance or interactingwith great conductors (Karajan, Abbado), and we see a kind, soft-spoken,modest person, so different from the images he created on stage.Read more

Subjects:  1. Classical    2. Opera / Operetta / Oratorio    3. Performing Arts    4. Performing Arts - Opera   

Editorial Review

Another Verdi triumph from the archives of La Scala, this 1984 production of one of the master's early popular successes showcases José Carreras's truly glorious instrument, a tenor voice of loveliness and delicacy that, in its abbreviated prime, was one of the true operatic glories. He sounds superb as the hero, Oronte, and, as his paramour Giselda, Ghena Dimitrova nearly matches Carreras's ringingly beautiful tone: their wonderful Act 4 duet is almost too much of a good thing. Read more

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Reviews (5)

La Scala comes up trumps with its 'Lombardi'
One of the most unjustly neglected operas in the Verdi canon is his fourth opera 'I Lombardi' premiered in 1843. After the success of 'Nabucco' another opera was commissioned by the La Scala impresario Bartolomeo Merelli. At this stage in his career Verdi was relatively insecure.Though 'Nabucco' was a furore the boos and hisses that had greeted 'Un Giorno di Regno' still rang in his ears. Consequently 'I Lombardi' largely rehashes the format of its predessor in the use of massive choral passages. The Act IV chorus 'O signore dal tetto natio' is clearly an attempt to repeat 'Va pensiero'. Critics have unjustly accused the composer of cynicism in sticking to a successful formula. I personally consider that insecurity played its part. The opera's premiere was more successful than that of 'Nabucco' largely because the Milanese identified more with the Lombards than with the Herbrews of 'Nabucco' but elsewhere 'Nabucco was the more appreciated opera.This DVD production comes from the theatre of its premiere and serves the opera very well. The La Scala chorus sing very movingly in the 2 big choruses 'Gerusalem' and the aforementioned 'O signore...'and thrillingly in the numerous battle hymns. The cast is not to be faulted. In the soprano role Ghena Dimitrova, a battleaxe as Abigaille shows her softer side and produces some lovely sounds. As Oronte Jose Carreras looks every inch the romantic hero and produces sounds to match. His death scene in the Act III trio 'Qual volutta trascorrere' (made famous from the 78 era by the 2 recordings Caruso/Alda/Journet and Gigli/Rethberg/Pinza) is not to be bettered. They are matched in dramatic ability and beautyof tone by Silvano Carroli a baritone Pagano rather than the usual bass. Carlo Bini is superb in the second tenor role of Arvino, a rather thankless part in some ways. (Imagine having to sing as much as he does and still end up as second fiddle!)Gianandrea Gavazzeni conducts superbly even if he does commit the (venial) sin of giving only one verse to the cabaletta della visione.The production captures nicely the period of the crusades

Only the music
This is yet another religious opera from Verdi's early years.The two sides, each calling the other infidels, kill for their respective gods.When Giselda cries (which she does several times) that god does not want blood, he wants peace, she is called sacrilegious (also several times) by the wise old holy man who carries a sword.The scenery was non-existent, just shieldlike symbols lowered and raised from the rafters.Carreras' voice was beautiful, though he didn't sing much.Dimitrova who sang lots was not right for the role.She had power and range and was soft a few times, but in the 4th act when she should have had facility, she didn't come through.My CD of this opera has June Anderson, and I had some misgivings about hearing Dimitrova fill her shoes.I did not like the choral music (Verdi hadn't reached his peak at this stage), but other than that the score (what I heard of it) was very beautiful, even for an early work.I started the thing a couple nights ago, was tired and slept through the first act.I shut it off, read the synopsis on the back of the box to see what I'd missed, and just now finished it.Except for the conversion of Oronte, and the holy wars (that should be a contradiction in terms, and I wanted to see the Muslims win for a change), I was totally lost.I have no idea what the story of this opera is. Just hurrah for Christianity and death to the infidels, is all I got out of it.All the infidels.When the wise old man (who sang beautifully) who seemed to galvanize these crusaders bit the dust at the end, I couldn't have cared less.

If you want subtle go elsewhere
But if you want thrilling early Verdi with all his flaws and with all his genius stop right here. I wonder if you could cast this opera today. Certainly not as well as this 1984 La Scala production. It is good to see Carreras, the 3rd tenor, at work. And Dhimitrova is at her straight out best. The production also deserves a word of praise. A full traditional production with real grandeur. The sound is a little thumpy but that's its age. All in all a welcome addition to the galley years of the Verdi canon. ... Read more

Subjects:  1. Classical    2. Classical Composers    3. Opera / Operetta / Oratorio    4. Performing Arts    5. Performing Arts - Opera   

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Reviews (2)

A Brilliant Concert of Spirituals
Jessye Norman and Kathleen Battle shine in a concert of all spirituals from Carnegie Hall in New York City.They sing alone and together, with an orchestra conducted by James Levine or with solo instruments, and sometimes backed up by a choir.Some songs bring you to tears, others bring on laughter.Their voices soar throughout and you are left wishing the concert never had to end.This is a terrific, terrific video!

A feast of music unlike any other!
Spirituals in Concert featuring Kathleen Battle and Jessye Norman with James Levine conducting is a feast for all the senses.The video is a taped live performance given from Carnegie Hall in March of 1990.Kathleen Battle and Jessye Norman are at the top of their art in this performance.The selections chosen are from the wealth of repertoire available from the spirituals of nineteenth century america.The spriritual is one of America's true art forms, coming from the enslaved african-americans of the ninteenth century.Read more

Subjects:  1. Classical    2. Gospel    3. Opera    4. Performing Arts - Opera   

Editorial Review

This is a 1998 performance from the Mariinsky Theatre, St. Petersburg,of the original 1862 St. Petersburg version of Verdi's Read more

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Reviews (6)

The Force Is With Us!
The original Marinsky Forza is presented in a new DVD under the brilliant baton of Valery Gergiev.This offering contains every jot of music that Verdi wrote for this unusual opera.It also contains many of the dramatic scenes cut from all productions of FORZA in recent times.Some of these scenes are a bit egrigious. Most shocking of these additions is the suicide by drowning of Don Alvaro.The three principals are splended in their energy and naturalistic perforemance.The tenor is a slavic version of a young Pavarotti.I would highly recommend this DVD!

Puzzling DVD
It is interesting to have available Verdi's first version of Forza, if only to realize how much stronger the opera became once revised.Textual differences have been described by other reviewers so there's no need to belabor points with which I'm in agreement.
A Spanish tragedy, Russian style
There are other DVD versions of 'Forza' that I would recommend over this one which is conducted by Valery Gergiev, namely the superb1958 performance that was recorded with Renata Tebaldi and Franco Corelli.However this 'Forza' has the original ending that Verdi wrote for the opera's premiere performance at St. Petersburg's Mariinsky Theatre in 1862.In fact, it is performed in that same theatre, and if there are times when you wish the tenor _would_ leap to his death in the last act, then this might be the version for you.Read more

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A fine example of serious opera circa 1800
It is difficult to believe that Rossini's opera seria "Tancredi" was composed in the same year as the joyous "Italian Girl in Algiers." And yet if you listen very carefully to (say) the Act Ifinales to both works in which every one declares how amazed they are atthe turn of events, you might be hard pressed to explain why you think oneis the serious and the other the comic situation. Perhaps the composer wasbasically such a happy chap that he saw the humor in all things.Read more

Subjects:  1. Classical    2. Music Videos - Classical    3. Opera / Operetta / Oratorio   

Editorial Review

One of the most unjustly underrated Italian operas receives aproduction that should help correct that attitude. Read more

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Reviews (3)

Already an historical performance
It is going to be a long, a very long time indeed, before we see another Chenier to rival this fabulous 1985 Covent Garden performance. Domingo was in excellent voice, and he meets every vocal challenge with virile, golden tone. Even if he lacks that brilliant spinto of Corelli, he has what it takes for this formidable role. Of recent tenors none comes near. The rest of the cast is if anything, better. Anna Tomowa-Sintow, Karajan�s favourite soprano is a glorious Maddalena: full voiced, warm, compelling, she is quite simply extraordinary. Baritone Giorgio Zancanaro gives a master class on how to mould a phrase in the old Italian style. His big aria is delivered with the kind of musicianship not heard since the days of Amato and Battistini. A Brilliant Andrea Chénier
Umberto Giordano's most famous opera "Andrea Ch�nier" portrays the tragic fate of poet Andrea Ch�nier in the French Revolution. Setting the real-life figure as the lead character and with the poet singing his own verses, this verismo opera embraces the realism enthusiastically. Character Andrea Ch�nier is a romantic and idealistic poet, who loved his country ardently and faced his death heroically. It's a tenor's opera. You would think a lyric tenor would be most suitable for the character's poetry, if he could also bring off some great heroic moments in the big orchestration. In this 1985 production, Domingo rendered Andrea Ch�nier with a well-balanced poetry and heroism. He filled poet's big arias with rich lyricism, at times, intimate feelings, and yet, the big outbursts were all there. Domingo was well matched by the powerful-voiced Anna Tomawa-Sintov as Maddalena. In her dark and rounded voice, Anna Tomowa-Sintov sang the character strongly, although some delicacy and variety might make the role more interesting. Her "La mamma morta" was in no short of dramatic expressions in both the recitative-like passages and the emotional outbursts followed. Giorgio Zancanaro, who approached the revolutionary G�rard humanly, sang a wonderful "Nemico della patria", which won him a storm of applause from the audience. A Much Better Selection
Until recently (November 2003) the only DVD edition of Andrea Chenier was a 1975 film version with Franco Corelli in the title role.This one is much better.It is an excellent live production filmed at Covent Garden in 1985.It illustrates why the Royal Opera is one of the world's leading companies.Read more

Subjects:  1. Classical    2. Opera / Operetta / Oratorio    3. Opera/Operetta    4. Performing Arts    5. Performing Arts - Opera   

Editorial Review

Mussorgsky died before finishing this epic treatment of the 17th-century clash between Russian conservatives (the boyars and the Orthodox "Old Believers") and the progressive, Westernizing reformers led by Peter the Great. Among the composers who have reworked and completed the material, Shostakovich and Stravinsky are the most convincing, and their work is used in Claudio Abbado's interpretation. His orchestra and singers rank with the world's best.Read more

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Reviews (9)

Well-thought Khovanshchina
Abbado is a strong Mussorgsky-champion.
A really great Opera.
Khovanshchina considered by many to be Mussorgsky's greatest work is grand opera in the greatest sense. There is ballet, huge choruses, and even a on-stage brass band (which sounded really good too).
Beware of the staging
I will make no comment on the music and singing (see one of the excellent books on that).I review this only to warn you of the absurd staging that does its best to ruin this beautiful opera.The dances especially are almost comical due to the attempt to modernize what is already a timely and timeless work of art. ... Read more

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Subjects:  1. Classical    2. Music Video    3. Orchestral & Symphonic    4. Performance    5. Performing Arts - Concerts   

Editorial Review

Claudio Abbado's 1982 performance of the Verdi Requiem with the LondonSymphony Orchestra and the Edinburgh Festival Chorus is not, perhaps, a classicin the league of the 1963 Carlo Maria Guilini recording, but it has a steely,controlling intelligence that never stands in the way of the work's passionateand ecstatic qualities. José Carreras's tenor voice was at that point in itsfullest bloom, and Ruggiero Raimondi's bass has a spine-tingling dark lyricismthat reminds us that the writing for bass here has much in common with possiblyhis greatest role, King Philip the Second in Read more

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Reviews (5)

A powerful performance
I don't know what I can say about this requiem that hasn't been said before..... It is a wonderful recording of Verdi's Requiem. What I especially like about this one is that the soloists are right in front of the orchestra, close to the conductor so you can easily watch them while singing. (Unlike some other recordings of this requiem where the four soloists are far away) I love watching the singers to see how they approach this piece and also the interaction between the singers and the conductor.
Good chorus, fine playing, glorious ladies, limited sound
As often with Abbado, this performance is distinguished more by lyricism than by passion.It's unfortunate that the limited dynamic range of the reproduction emphasizes restraint; I suspect that it was balanced better if you were in the hall.I did not find the recording bad, but it does attenuate very soft passages and loud climaxes.The chorus is good, the orchestra plays very well, and the soloists are outstanding.The men are very fine, though Raimondi isn't the most involved singer I've ever heard, and Carreras sings sharp some of the time (the bugaboo of 'Italian' tenors - so did Corelli and the young Domingo).The ladies are superb, fully involved in the meaning of the work.These were two of the most beautiful voices of the time, or probably of any time, but I was not prepared for how well they blend.Both Norman, who didn't sing much Verdi, and (Margaret) Price, who did, really understand 'Verdi arches' and shape their lines with loving care.The high mezzo part suits Norman perfectly, and I'd readily place Price alongside Tebaldi or Caballe as a consummate Verdi soprano.I also appreciate gaining a deeper understanding of how conductors communicate, from being able to see Abbado's gestures and expressions.If the sound were better, this would be a classic.

Worthwhile for the soloists
This is not by far the best Verdi Requiem I have seen and/or heard. The negatives leap at you: compressed sound, lack of eloquence, bite and power in the choir, and a somewhat tepid, let's-keep-Apocalypse-tidy Abbado. In short, this is not the Verdi Requiem I'd choose were I to have only one..... But one should not limit oneself to only one, pocketbook permitting, where great masterpieces of music are concerned.Read more

Subjects:  1. Classical    2. Opera / Operetta / Oratorio    3. Opera/Operetta    4. Performing Arts    5. Performing Arts - Opera   

Editorial Review

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Reviews (3)

an awesome video
In an Amazon search for "Russian folk dance" videos - (and there aren't more than 2 listed!) - I found this video but did not want to purchase it after reading a dissapointing 2-star review by a previous viewer.