Bartok: Duke Bluebeard's Castle [VHS]

This version of Bluebeard, music by Bartok and text by Béla Balázs, turns the story into a kind of journey by train: looking out one side, we see and hear an engaging psychological study of the victim and victimiser, but if we look to the other side, an entirely different landscape, rising above mere psychology to a series of emblems and constructions that reveal the myths within which we live. Powerful, heady stuff, with both score and text worthy of the subject.The Orchestra and singers are both superb, though the recording is a bit not - not bothersome unless you want the volume very low. Robert Lloyd and Judith Laurence are far from the usual wooden acting associated with opera. Their singing is engaging and believable.An older performance of this opera, with the same orchestra, but under the baton of Georg Solti is also available on DVD. I think this version is superior, if only because this staging is better suited for filming, and the acting far more natural. The Solti production is ill costumed (think the Star War's bar scene) and features the wooden acting I mentioned above.

(I'm assuming if you're reading this, you're familiar with this opera - possibly via the other DVD version that's currently on the market. This review is written for such people. If you have never heard this opera, stop reading NOW and click "Add to cart." Just do it, you won't regret it. And/or purchase the CD featuring Christa Ludwig as Judith. Or, if you like, check out the other movie version directed by Szinetar. It's all good.)I was originally skeptical and hesitant to purchase this DVD because there were no reviews here and very little representation on Youtube. My love of Bartok's work won out, though, and I am glad it did. This is a worthy interpretation of this phenomenal piece that manages to flesh out the score and libretto while coloring it with valid insights and personal touches.THE CAST - Robert Lloyd is a treasure as Bluebeard. His acting is a little wooden, but his voice is strong and he manages to bring a little more character to the role than many baritones. This is a Bluebeard who is just as affected by what Judith uncovers as she is. Elizabeth Laurence does not have the strong voice we're used to, but her high, lilting soprano infuses Judith with a kind of excitability, naivety and joy that supplants the redundant shrewishness of other interpretations. Usually, I feel pretty fed up with Judith by the end of the opera, but here, I really felt for her. Laurence has the acting chops to pull this subtlety-laden Judith off.THE PRODUCTION - GORGEOUS scenery, understated but lovely costumes, inspired directorial choices, and well-placed transitions. The production really works with the music, and the two aspects really feel seamless. In short, I believe Bartok would have approved. This opera is really well-suited to the film medium in a way that most other operas aren't. If you don't believe me, just check out Door 6. There are some "weird" parts that feel a little jarring, but a little bit of reflection made me appreciate the genius behind these decisions, and I didn't think they strayed enough from the music or the libretto to detract from the experience.THE ORCHESTRA - This might be my least favorite aspect of the film, but it is by no means weak. I just have my own preferences regarding tempi, and in certain places (Door 5 comes to mind) I feel the dramatic tension was weakened by the conductor's choices. Others will probably find it more to their taste.OVERALL - Just buy it. I know you will come back to it the same way that I will if you love this opera. I'm tempted to make comparisons with Szinetar's film, but the two are just too different. I haven't made my mind up if I like one more than the other. They each have their strengths and weaknesses, but I think a sensitive and open-minded person will be able to appreciate both films whatever their own preferences and prejudices.

This is an old cinematic production (1988) of Bartok's masterpiece, which I would describe as one that is visually informative. The problem with great operatic productions (even that of Met HD Live's 2015 production) is that you don't get a sense of the space and connectedness of the castle, which you can do so with greater ease in a film.

Pairs very well with another filmed version (Solti, conducting). This one is even darker in its presentation.As far as the music, I always considered Bartok’ Bluebeard an absolute masterpiece of story, orchestration, diversity - all packed in one hour only ... (Read somewhere that Bluebeard should be the perfect introduction for an audience wishing to be introduced to opera...

I loved this literal, fairytale production, but I am one who believes great works can best impress when performed as written. The performance mmatches the music - psychodrama at its best. My companion said, "it is movie music," not realizing that this is where movies got their music.

Lovely music. Very enjoyable.I was especially happy to get to buy this because the retirement home I'm staying in went to a showing of two one-act operas, but didn't stay for this one, which I wanted to see,

Very satisfying performance visually and vocally of this powerful opera. A standard interpretation of of the blood is that it is that of others; however, consider the interpretation that it is Bluebeard's own blood.

Warning: This is a movie-not live; but it is an interesting production that is well sung

A fabulous production of the most evocative and moving music theatre about the relationship between a man and a woman. Beautifully shot, exquisitely alive to every twist and turn and sadness of the music, and with intense performances from Elisabeth Laurence and Robert Lloyd, with Adam Fischer conducting.