At Last! A Top-notch Performance of a Delightful Opera.
598768
Handels "Partenope" is one of half-a-dozen contenders that compete for the last two spots on a list of the composers best operas, right after "Giulio Cesare", "Rodelinda", "Tamerlano", "Orlando", "Alcina", "Ariodante", "Serse" and "Agrippina". I have been reluctant to rate it too high because the two previous recordings I had heard were both fatally flawed. Both the recording conducted by Sigiswald Kuijken and that of Christian Curnyn offered countertenors in the two male roles originally sung by high-voiced singers, with results ranging from ghastly (Jacobs) to almost adequate (Zazzo). Curnyns set also lost points because I really don't care for the voice Hilary Summers, who sings the crucial role of Rosmira, the wronged young woman who dresses as a man in order to torment the lover who has betrayed her by reattaching his affections to Princess Partenope. But this new Partenope can be unreservedly recommended and makes a very strong case for that top-ten rank. I had heard that Philippe Jaroussky was considered something special by fans of countertenor singing, and his performance as Arsace showed me what all the fuss was about. As The Most Interesting Opera Fan in the World might say, I don't always go for countertenors, but when I do, I choose Jaroussky. Having filled the lead castrato role with a worthy singer, the producers then dodge the usual pitfall of plugging a second-rate countertenor into the number two slot by choosing instead soprano Emoke Barath, who makes the role of Armindo a delight rather than a trial of patience. (Fans of countertenor casting often forget that many of these high-voiced male roles were originally sung by women, as was the case with Armindo, sung at the premiere in 1730 by contralto Francesca Bertolli). The rest of the cast meets the same high standard, singing with accuracy, flair and passion, ably supported by Riccardo Minasi and the period ensemble Il Pomo dOro.
 The only thing resembling a flaw is that the singers are so adept at conveying the strong passions of their characters that one might forget that this is really a comedy. If "Partenope" was a movie, it would be a slyly feminist chick-flick, directed by Elaine May, with a Nora Ephron script. The humor depends on a common sitcom situation: Arsace and Partenope keep pretending that their mutual passion remains intact even though the former increasingly regrets jilting Rosmira, and the latter has become infatuated with Armindo. The high point of the drama comes when Arsace, challenged to a duel by his disguised former sweetheart, brings her male-drag masquerade to an end by insisting that they fight bare-chested. Im not suggesting that the singers should offer winks and nods to the audience--this kind of comedy works best when everyone plays it perfectly straight--just pointing out that you need to pay close attention when reading along with a libretto to catch the fact that some of these heart-felt expressions of emotion bear a passing resemblance to Wildes Gwendolen declaring her resolution to marry a man named Ernest. But performances as refined and earnest as these deserve the attention of anyone who has discovered the delights of Handels operas.
3292903
I have always regarded Solti's 1972 recording of *Zauberflte* as one of the very finest accounts of this transcendent masterpiece from the analog era.  Solti's later, digital, account has many virtues, but with respect to cast and interpretation his first version is the one to have.  Though neither as charming as Beecham nor as majestic as Klemperer, Solti dynamic and finely shaded reading brings many rewards.  He is certainly alive to the work's earthy humor as well as to its earnestness and pathos.  He manages to tap fully into  Mozart's rich vein of humanism without turning the piece into a Masonic Oratorio.  The superb quality of Solti's interpretation is not surprising.  His longstanding association with (and, I deem, affection for) this opera goes back all the way to Toscanini's 1937 production, in which Solti played the celesta (representing Papageno's set of magic bells).

The superb solo and ensemble singing are consistent strengths of this recording.  Among the principals, I would single out for special praise Burrows's lyrically persuasive Tamino, Prey's bucolic (but not hammy) Papageno, Talvela's sonorous Sarastro, and Deutekom's spectacular Queen of the Night.  The Three Ladies make distinguished team (when they appear, their contribution is always enlivening), and it was a delightul idea to cast the Three Boys as trebles.  These boys sing with fine diction, breath control and intonation; they also call to mind their sublimely rakish counterparts in Bergman's film adaptation of the Magic Flute.  Lorengar's Pamina may not be to all tastes--her fluttery vibrato might prove irksome on repetition, though this very quality lends an appropriate vulnerability to her characterization.  Likewise, Stolze's hyperactive (and somewhat whiny) Monostatos might seem over-the-top to some listeners; vividly portrayed to others.  All things considered, though, this is as fine a cast as I have heard in this work.  Nor should one overlook the sumptuous, but not overly weighty, contribution of the Vienna Philarmonic; their splendid playing constitutes another great virtue of this set.

The recording is as vivid as the production: full of impact, crystal clear, yet not without warmth. Just the right amount of spoken dialogue is included, as are the usual "soundstage" special effects.

Even if you own rival sets of this opera, do consider adding this one to your collection.
2979127
This CD offers only highlights from the EMI studio recording so if you want an abbreviated version of the same performance this is a must have. It was recorded in 1971 and all the singers are in glorious form- Placido Domingo's voice is elegant, rich dark and hefty, making every line and scena dramatically convincing as Don Carlos, the son of the imperious Spanish King Phillip, an idealist, a dreamer, a frustrated romantic. All these traits Domingo delivers in a performance that is unsurpassed. He was born to sing Don Carlos. Opposite Domingo's tour de force performance is the equally virtuosic Monsterrat Caballe. As Elisabeth De Valois, she is regal, grand and has a voice of graceful beauty and dark middle register that gleams with velvet orutund tones. She is every bit the Queen and her conflicted emotional state is well enacted. Caballe's performance is perhaps only rivaled by Katia Ricciarelli who sang it in its original French. But Caballe, always the Italian expert, knows how to bring this role to the most perfect degree of lyric drama. Shirley Verrett sings the mezzo role of Princess Eboli, the jealous princess and rival to the Queen. Her rendition of "O Don Fatale" is sensational. Her command of the role is impressive. She makes us sympathize with the heroine and she is truly one of the greater mezzos of the post World War II Era. This recording has to be her claim to fame at least on studio recording. Ruggero Raimondi sings the baritone role of the King Phillip. Raimondi has enough darkness and luminosity in the voice to essay the role with aplomb. He is delivering a sensational performance and he is paired well with Domingo in many scenes. Conductor Carlo Maria Giulini is a revelation as he treats the score with prowess and makes it a huge Italian epic that is more along the lines of Aida.

Don Carlos is a dark opera, perhaps Verdi's darkest. It is a melancholy, brooding piece of theater. Set in the dim Inquisition Era, politics mix with personal passions, religion clashes with state, and a young prince falls in love with his father's newest wife the Queen, his own stepmother. The music is a mixture of gloomy choruses and foreboding melodies with vibrant, elegant Verdian lines. The original French version was Verdi's entree to French Opera at the Paris Opera, the world's premier opera. His opera was a smash hit. It has never sounded better than on here. For the best French version listen to Placido Domingo and Katia Ricciarelli version with a cast that includes Luisa Valentini Terrani and Nicolai Ghiurov.
3470229
I have heard many renditions of this opera, and in my opinion, this is the very best recording available. I have found prior recordings to be entirely emotionless, and this is a shame, because this opera (as with any other) falls flat if the singers fail to carry conviction. This recording outdoes all the others in this respect. Bostridge gives a heartfelt performance of the title role. Dessay sings a sublime La Musica. Ciofi, Coote, and the other soloists are equally excellent, and have made this opera enjoyable to me for the first time. In short, this is a cast and a performance that would have made Monteverdi himself proud.
4217331
All three female principals in this opera are fantastic. Netrebko, Garanca and Kulman own the screen. They deliver a performance that will have you glued to your seat. I agree with some of the reviews I've read on Amazon regarding Ildebrando D'Arcangelo and Francesco Meli not being as strong as the part may demand, and I must say I preferred Ildar Abdrazakov as Henry VIII in the Metropolitan Opera's production this year. Ironically, he sang against Netrebko at the Met and was wonderful. It's really a small quibble. D'Arcangelo and Meli deliver world-class performances and they are wonderful voices against Netrebko and Garanca.

In addition, the Vienna Opera Orchestra will leave you breathless with this performance. The music took on a dimension I haven't heard with other productions of Anna Bolena, so it was like hearing it anew. Evelino Pid conducted this performance, and I was enthralled at his interpretation. Make sure to play it LOUD!

For my money, if you're an opera lover, this is a not-to-be-missed performance. At $29, you're crazy not to buy it!
4710398
This is a wonderful performance.  Rest assured, the sound on this historical live performance is entirely acceptable.  The Amazing Nicolai Gedda is in glorious voice just listen to the "Flower Song".  Simionato is an exciting Carmen and the remaining cast is terrific.  Of course the chorus and orchestra are in fine form under Karajan.  No libretto is included but most of us opera fanatics have this score/text more or less memorized.  A fine, inexpensive second or third "Carmen" recording for your collection.
2673645
This 1983 live performance was not a compilation of several performances put together, but a single take.
Reviewers may complain of the cuts made, but it does not hurt the plot a single bit - the ballets, etc. are for French grand operas, for sure, but NOT one single DVD production offers the full version, so really no reason to complain against THIS one!
The sets and costumes by Ponnelle are truly reflective of the 'grand style'.  Plus the fact that the two lead characters are portrayed by top singers in their absolute prime - both Gruberova and Araiza weren't even 35 years old at the time of this performance, makes this production the most convincing both dramatically and musically.
The conducting of Fischer is good - he makes the music come alive, much more so than the MET version of last year.
The singers, however, are the real gems. Surely, with a cut version, the focus becomes entirely on Manon and her Chevalier Des Grieux.  Lescaut and Guillot are both side-lined, so is Bretigny, but who cares for these minor characters in a pre-dominantly romantic work such as Massenet's Manon?
Back to the leads - for a long time, Manon is a very popular opera.  Divas rushed to sing this role: de Los Angeles, Sills, Fleming, Dessay, Netrebko...One DVD, however, there is really but ONE Manon, and that is Edita Gruberova.
Gruberova, at the height of her powers, looks the part, sings the part, acts the part to utter perfection. Plus the fabulous costumes by Ponnelle, her presence on stage becomes an individual event in each single scene; and she sings so well that each time she opens her mouth, it is an operatic phenomenon.  She is far better in this Massenet role than even her Mozart roles, in which she isn't really able to surpass the likes of Lucia Popp, Arleen Auger and Gundula Janowitz, but to name only three.
It doesn't need any seasoned opera watcher to discern how much more finesse is being brought to the role by Gruberova than the modern stars like Dessay and Netrebko.  Dessay's outing was did, alas, far too late, and she hardly looks the part.  Netrebko never owned the requisite coloratura technique required of this role.  Fleming looks stunning, but the timbre is too mature for a 16 year old.
As the 17 year old Chevalier Des Grieux, Francisco Araiza has the bonus of an ultra innocent and gentee look, and he sings the part well, too. Vocally his mellifluous and ardent singing is a perfect match for the top-flight Gruberova, and his Act 2 and Act 3 great duets are dramatically even more convincing than Gruberova. The last Act also sees his Des Grieux in the noblest demeanour.
There really is no need to present this great romantic masterpiece in any pornographic manner.
This vintage production deserves more than 10 stars.
2342143
First, have no fears concerning the quality of the sound here: good, clean mono with minimal distortion on top notes and loud passages, a very well behaved audience and an excellent balance between voices and orchestra which preserves the atmosphere of a live performance. After the initial pleasant discovery that the sound is more than acceptable, comes the second agreeable surprise: Susan Marsee's strong, pliant mezzo, with excellent top notes and a wholly engaged characterisation. I was previously unfamiliar with this stalwart of the New York City Opera and am impressed by her quality; in fact, the supporting singers are invariably excellent, which is not always the case in festival performances - although Furuccio Furlanetto is so young here that his beautiful bass voice lacks gravitas as Cecil. Three Spaniards head the cast and all are in their prime; it is quite absurd of previous reviewer M. DeClercq to call Caball "awful". There are one or two discoloured top notes, forgivable in a live performance but she is not only in fine voice, but quite unafraid to take risks and make some "ugly" sounds in order to bring her character alive. The trademark floated pianissimi are a dream. Carreras, too, sings meltingly and reminds me why, before his illness and the assumpion of rles too heavy for his lyric instrument (shades of Di Stefano?) encouraged forcing, he was, alongside "the other two", the foremost tenor of the 1970's. Sardinero has a fine, dark baritone similar to Paolo Coni or Piero Cappuccilli. Rudel's conducting is flexible and affectionate, the orchestra perfectly fine. I don't think the music itself is always top drawer Donizetti compared with his finest works but there is enough here to satisfy any aficionado of 19C Romantic opera.

Comparisons with Gencer (in the welcome bonus tracks) are odious if you use them to denigrate either great singer; both are wonderful in their own way: Gencer has the edge for individuality and drama, Caball for sheer beauty of sound, yet neither is a slouch in either department. The selections have been made to give us the bulk of Gencer's part and you can hear just why she was such a favourite with Italian audiences and wonder afresh why the big recording companies never employed her, especially when she was the closest thing we ever had to a successor to Callas. Compared with Carreras, Roberto Bondino (according to the notes, one of few tenors to make the switch from professional footballer) is a bit crude with a fast vibrato that occasionally mutates into a tremolo and he has none of Carreras's plangent fullness of tone, but he is committed and competent. The sound is really good for 1964, not inferior to that of 1977.

This is a great set; so much packed on to two well-filled CD's. Gala must be congratulated for once gain uncovering two superb performances and making them available, pleasingly packaged (at a bargain price on Marketplace) - but why do they insist on putting two discs in a full-size jewel-case, given that there is no libretto? (They do, however, provide good notes containing cues, biographies and a very intelligent essay by Paul Korenhof.) I always save shelf space by putting Gala sets into slimline cases - they might as well do that for me!
2608356
Any time that Birgit Nilsson lives up to expectations, an opera is worth hearing. In this case, almost everyone else exceeds expectations.  Sawallisch gets the RAI orchestra to play far beyond their usual, and his reading is urgent and intense for the most part. He can't seem to help lapsing into dullness here and there. (I've found that these Italian radio performances from the studio are consistently better than opera house recordings -- with some notable exceptions, of course -- because of the controlled sound and disciplined execution.) Thomas Stewart makes for a fierce, commanding Orest, not surprising when you cast a leading Wotan. The Chrysothemis, unfortunately, is ordinary. The recorded  sound is full, vivid mono form 1971, its only flaw being a somewhat boomy bass and a certain mfffled cast.

Nilsson's assumption of the title role for Solti on Decca four years before this swept the field and has been a source of astonishment ever since. When deprived of retakes, however, she could miss the pitch; this happened too much in her later Elektra performances, even though the house would always be sold out and she would get a standing ovation. Happily, the problem is at a minimum here. Without Solti's electro-shock approach to the score, she sounds less psychotic, and the added breathing room benefits her phrasing. Otherwise, this is the patented portrayal that kept the opera world enthralled. At its bargain price, this appealing Opera d'Oro has much to offer lovers of Elektra, including those of us who know quite a few rival recordings.
2199159
If you are female and looking for a production of TOSCA, look no further. Placido Domingo is at his peak here. He looks marvellous, acts beautifully and his singing is beyond superlatives. I am not even going to try. Ladies, after watching this, I went to bed and dreamt of Mario Cavaradossi and how I would NEVER have put him in danger!

Before I get to the opera itself there are two marvellous extras on this DVD - THANK YOU, DEUTSCHE GRAMMAPHON. In one Franco Zeffirelli takes you on a tour of the three Roman locations of the opera and discusses his view on the relationships between the three main characters. The other is an interview with Ms. Behrens, Mr. Domingo (drool) and Mr. Macneil.

I am at a loss to understand complaints that Ms. Behrens looks too old. She is not supposed to be a movie actress but an opera singer. How many very young opera stars are there? Anyway, why can't Cavaradossi fall in love with a woman older than he is?

That said, the perfect Tosca would be perfectly balanced between the three main characters. Here, Mr. Domingo is just so much better than the other two that the production is out of kilter. Mr. Zeffirelli explains that he sees Scarpia as a dangerously attractive man, and that Tosca is attracted despite herself. In killing him, she is striking out at that unwelcome attraction as well.

That sounds great, but neither Mr. Macneil nor Ms. Behrens can bring it off. Scarpia comes off as real nasty, though Mr. Macneil's singing, and his acting in the death scene are tremendous. He is particularly good at the end of Act I, where his positively blasphemous thoughts are expressed against the choral backdrop of the Te Deum. Ms. Behren's voice came across too thin, to me, except in "vissi d'arte". She was excellent in Act III.

The sets and staging are gorgeous. That alone makes the opera worth buying.
359550
This is one of my favourite opera recordings.  The sound is believeable and well balanced.  Sometimes the top sound is a little harsh but the bass is very rich.  The brass & timpanii crescendo in the final moments is  thrilling.  Bohm paces the work directly, with subtle rubato and with  obvious care.  Above all it is the singing that impresses.  Reining is  simply magnificent.  She has a rock solid, creamy sound and is able to  float and soar to spectacular effect.  Lorenz is gutsy with the requisite  power to bring off the final moments.  Some may find the  dated vocal  techniques, especially of rising to notes, 'different', but I find it an  endearing record of a lost vocal tradition.  The ensemble, sense of  occasion and sheer joy of music making lift this set well above the Karajan  and Masur recordings which are more technically perfect but routine in  comparison.  I hesitated to buy such an old recording but needn't have  worried.  An easy 5 stars.
2527728
This is a surprisingly exciting performance, given its far from first rank orchestra/chorus and its being a concert performance rather than a theatrical one. Caballe is at the top of her powers, the others are more  than adequate and the whole performance comes together as an exciting  recording. It is fascinating to compare this opera with Stiffelio, of which  it is really a revised version. I find this performance better than the  Gardelli one of Stiffelio. How one wishes that the Carreras of Gardelli had  teamed up with Caballe for this opera!
4373566
Opera buffs will be thrilled to see this rare recording being released and indeed to have these strong, powerful voices negotiating Mozart's light music is a big treat. Be prepared however because the sound leaves much to be desired and Acts II&IV are not complete. Though the sound is surprisingly clear most of the times, it sadly changes pitch too often during the arias. Once past this however, you'll listen to a rare performance of Mozart's most beautiful opera. All singers are Italian and this brings life to the recitatives and spices up the arias.

Renata Tebaldi, the obvious selling point of this Nozze isn't famous for her Contessa but perhaps it's time this changed. Her performance also proves how a massive voice, if used intelligently, can grace Mozart's music. Porgi amor is the sexiest I've ever heard and those light pianissimi left me speechless. The runs of Dove sono are not as smooth as others' but charming nonetheless. No wonder the audience erupts after it. On the whole a stunning performance full of nuances.

Excitingly enough, the show doesn't end with Tebaldi. Simionato's Cherubino is another gem. Though this singer was famous for her dramatic mezzo roles, I feel this sweet role suits her even more. Tajo and Colombo offer strong voices and more than enough nuances to keep the bubbles sparkling. Alda Noni is an old-fashioned soubrette but poses no significant harm to the pleasures of this performance. Perlea leads lightly and discreetly.

This isn't a recording for beginners of course and it won't replace the famous studio recordings but I will happily return to it for its many virtues.
122063
This is an excellent recording of Donizetti's exquisite comic opera, capturing and expressing the darker themes underlying all the fun.  Placido Domingo is a simple and wistful Nemorino manipulated by circumstance; his  "Una furtiva lagrima" overflows with hopeless longing.  Ileana  Cotrubas is at the height of her vocal power as Adina; the characteristic  plangency and focus of her singing adds a more sympathetic edge to an  essentially selfish character.  She negotiates the coloratura passages with  ease and displays a breathtaking bloom and purity of sound in the upper  register.  Veteran character baritone Geraint Evans is a sly and knowing  Dulcamara; the thoughtful nuance of expression that he brings to his  singing amply compensates for some harshness of tone.  Ingvar Wixell is a  pompous Belcore; the voice is fresh and brimming with energy; his rapid  even vibrato adds a wonderful texture to ensemble numbers.  Lillian Watson  is a puckish Gianetta; the chorus sings well, and John Pritchard leads the  orchestra with zest, joy, and attention to the shadowy side of this most  accomplished farce.
2128552
I have owned a few video presentations of this opera and this, for me, is the best option among the more modern versions. I also bought it before the price was reduced to the current bargain range (depending on the Arthaus version advertised) so it seems to me to offer terrific value.

The venue at Verona is spectacular with everything being presented on a large scale. This produces a situation of swings and roundabouts. The voices can get somewhat submerged, but not inaudible, at the big moments - and there are many. However, with the aid of the subtitles, it is easy enough to precisely follow the words being sung without any guesswork.

At the same time there is also conveyed a degree of required effort which I personally find appropriate to the scale of the drama being portrayed. The crucial death of Scarpia must equally be conveyed with an overwhelming passion and hatred and in this respect we are fully catered for. Several otherwise fine performances fall at this hurdle. The singers here are all up to the task vocally and as actors. The orchestra are well recorded especially when considering the demands of the venue.

As a recording this succeeds in creating the sense of considerable spectacle and the imaging is as crisp and as involving as one could reasonably expect from such a setting and venue. The sound is equally praise-worthy and is presented in DTS 5.1 and stereo options.

This is a red-blooded Tosca writ large. Tosca is all about passion, larger than life characters and events supported by music conceived on a large scale. That, for me, is what we get here and I for one, am very satisfied. Highly recommended especially as it is now available at a much reduced price.
4237200
Based on the mixed reviews, I hesitated to buy this but fate took the matter out of my hands and I found it wrapped as a Christmas gift. As to the opera itself, Charles Osborne (The Bel Canto Operas) refers to it as Donizetti's best pre-Anna Bolena opera and I agree. It is filled with lovely melodies and dramatic potential; in sum, all that we love in bel canto works. CD recordings with Caballe and Kraus, and Sutherland, Horne and Aragall provide mighty fine listening, but DVDs of complete performances are limited to three.

The different reviewer opinions, gentle reader, seems to focus on Mme Theodossiu's performance. For as long as I have enjoyed opera (and that is a VERY long time, indeed), there have been VERY intense differences of opinion as to this soprano vs. that soprano, with the ladies, it is said, fueling the fires by publicly doing the "fit hissy" thing, while privately agreeing that revenue was enhanced thereby. Having said that, let me be clear that I "have no dog in this hunt". There are times when I like Mme Theodossiou's work and times when I do not. If I was to cast this opera, I would look for a different voice, but not having that option, I am satisfied, but not thrilled by her work: there is a roughness that creeps into the voice on occasion that I have noted in other reviews, which are distracting.

But since I really like Lucrezia and enjoy watching it, the distraction is bearable. That said, the other performers do contribute much to my enjoyment of the performance. Bi Biasio is a tenor I like a lot. He has performed on several DVDs including a dandy Maria Stuarda and an intense I Due Foscari. Nida Palacios is no Marilyn Horne (and who is?) but she carries off the part of Maffio Orsini quite well. The rest of the cast does a fine job, as well.

One nitpick: too much of the opera is dark, which is a comment on stageing, but otherwise, the performance is quite traditional.

Disc quality is excellent as to both picture and sound (love the DTS surround!!) The venue is the Teatro Donizetti in Bergamo, Donizetti's home town, which means that this is regional Italian opera, lacking in many of the "whistles and bells" that the big houses bring to an opera. But like Verdi in Parma, and Rossini in Pesaro, there is no doubt about the passion of the audiences.

The Berganigi liked this a lot and I did too. But if Mme Theodossiou ain't your cuppa, pass on.
3459783
Ermione is one of Rossini's greatest operas. The libretto by Andrea Tottola based on the tragedy by Racine, Andromaque, is one of the richest Rossini ever set, for Tottola in boiling down Racine retained the essence of the play without producing the silliness which so often characterizes bel canto librettos. Possibly, it was the atrength of the libretto that inspired Rossini to write his most profound and innovative opera. He is uncompromising on his demands on the singers. The opera also makes huge demands on the producer since there are major roles for at least three first-class tenors as well as extremely demanding music for a soprano, a contralto or mezzo soprano and a bass. The orchestral and chorus demands are also very high.

The glories of this set are the singing particularly of Cecelia Gasdia in the title role and of Chris Merritt. They sing with lovely tone and almost flawless technique. Margarita Zimmermann in the other very demanding female role, that of Andromaca, is almost as good, while William Matteuzzi in a smaller role is also excellent. In a more major role, tenor Ernesto Palacio, is at times a bit shaky.

Neither the chorus nor orchestra are really first rate, but Claudio Scimone draws from them a well-balanced, subtly nuanced, and effective performance. The digital recording from 1986 is very good. This is a recording of a concert performance (whether given more than once is not clear in the booklet, but probably not) so any technical flaws are partly the result of everyone having to perform without the safety net of second takes.

There is a more recent, excellent recording of Ermione currently available from Opera Rara. I would judge the Scimore set to be the better of the two because of the quality of the main singers and the effectiveness of the conducting, but both are tremendous renditions of this very satisfying opera.