Editorial Review:

Product Description:
Janác ek s rarely performed final opera From the House of
the Dead is brought to the stage by acclaimed director
Patrice Chéreau and legendary conductor Pierre Boulez,
serving as the third collaboration between the celebrated
team behind the famous best-selling DVD Ring also on DG.
This production, commissioned by the Aix-en-Provence
Festival, has been widely hailed as one of the operatic
highlights of the new millennium.
Harrowing and unforgettable; one of the great Janác ek
interpretations of our time. The Guardian

Amazon.com:
Few operas match Janácek’s From the House of the Dead for sustained intensity and raw emotional power, especially effective in this 2007 Aix-en-Provence Festival staging. The opera is an ensemble work requiring an evenly matched cast of singing actors and a first-class orchestra under the baton of a conductor who masters Janácek’s but tricky rhythmic patterns, gritty folk-based melodies, and brilliant orchestration. That’s what it gets in this staging by Patrice Chéreau and conductor Pierre Boulez, whose precision and attention to detail amplify the overwhelming power of the score. This is one of those rare operas where nothing much happens yet leaves you certain that it has revealed important aspects of life. Without conventional arias, it delivers the power of such 'highlight' moments through dramatic monologues and a continuous stream of orchestral music that illuminates characters and situations. In this late work completed months before his death, Janácek does in a mere 100 minutes what others strive to do in much longer time spans. Sharing the honors is a superb cast that brings the opera to life. You may despise what these people have done to land themselves in the Siberian gulag of Dostoyevsky’s novel, but Janácek’s libretto, almost entirely taken and re-ordered directly from the book, makes you sympathize with their degraded state and shocked at the cruelty to which they are subjected. Janácek focuses on six of the prisoners and several relate their stories. These are uniformly well done, with the first act monologue of Luca, a tale of how he murdered a prison commander, a gripping experience. It’s balanced in the final Act’s story of Shiskov; a grim tale of how he murdered his wife when she revealed her love for the villainous Filka, who turns out to be none other than the prisoner known as Luca. Filka/Luca is powerfully sung and acted by Stefan Margita, Shiskov by Gerd Grochowski. Olaf Bär sings the nobleman, a political prisoner roughly stripped of his clothes and belongings and who’s freed in the last Act. He becomes a father figure to the pallid, retiring Alyeya, brilliantly realized by Eric Stoklossa, teaching him to read and write and ministering to him as he lies feverish in the prison hospital. Special mention must be made of John Mark Ainsley, in the role of Skuratov, who murdered a rich man who wanted to marry his sweetheart.

Chéreau’s stage direction masterfully focuses attention where it needs to be, and keeps the dramatic arc flowing in ways that allow the audience to follow the action – not easy on a stage filled with secondary characters, nearly all male and all in either shabby prison clothes or green guard’s uniforms. Thierry Thieu Niang staged the two brief plays within the opera, prisoners’ performances mirroring some of their tales, bursting with depravity. The sets by Richard Peduzzi are fitting too, movable walls that reach to the top of the stage and enclose the prisoners in a claustrophobic setting. Film director Stéphane Metge’s camera placements and cutting are virtually always on target, blending the personal stories in a larger context. Extras include a 48' film that includes revealing scenes of Boulez and Chéreau in rehearsal. This is a must-have for anyone interested in 20th century opera. --Dan Davis

From the House of the Dead is an all-regions disc in 16:9 ratio. Sound options include PCM Stereo and DTS 5.1 Surround. Sung in Czech, subtitles include English, German, French, and Spanish.









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Rating: - Janacek's From the House of the Dead (DVD)
This, one of the greatest operas of the twentieth century which, because of its language and setting, is not performed as often as it should be receives a magnificent performance here: the production, singing, and orchestral performance are all superb. A must for all lovers of Janacek and of twentieth-century opera. More than just a supplement to the definitive Mackerras CD recording of the work. Most enthusiastically recommended!

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Rating: - Stunning!
What an emotionally harrowing experience is watching this opera for the first time.

Stephane Metge has made a film using the production by Patrice Chereau and Pierre Boulez (together again 30 some years after their famous Bayreuth Ring) and what a film it is.

Boulez, almost literally seems to conjure this stunning performance from the Mahler Chamber Orchestra. From its haunting, jangly opening I was brought to mind of Strauss and Prokofiev and how all three use the orchestral colors in the boldest possible - and not always most subtle ways. The score is a wonder of violence, tenderness, dreamlike and gritty realism. It is magnificent.

Metge's camera work gets right into the middle of things, roaming through Richard Peduzzi's stark mile high walls with a voyueristic violence that thrusts the viewer into the world of this terrible place. Pulling episodes from Dostoevsky's tale, Janacek's opera is virtually plotless, yet this which is not to say "nothing happens" because there is plenty to focus on, as these hapless gulag prisoners live, suffer, dance, dream and reminisce of their lives outside these walls. Note I didn't say dream "of happier times" for the stories they tell of their pre-prison lives are as terrifying and violent as the world they create for themselves within the walls.

As Alexandr, Olaf Bar's entrance is terrifying stuff, clearly a man of some means, besuited and bespectacled, the guards and inmates encircle and strip him, hurling his glasses into the courtyard. When he later emerges near the end of the act, filthy, shackled, and blindly crawling across ground, it's tough not to weep But, as in life, there are occasional acts of kindness and one such here between Alexandr and the boy prisoner Aljeja (a remarkable and heartbreaking performance by young tenor Eric Stoklossa) is sufficient to remind us these are still human beings, still part of the family of man, still "us."

John Mark Ainsley is a riveting presence throughout giving seering performance as Skuratov. Mad with grief, and imprisoned "for falling in love" - we watch his pathetic tale played out as he changes his garments, his mind seeming to hold the focus of his love story to keep him centered - but clearly not working. Mostly silent during the 3rd act, Ainsley still manages to give a tour de force performance - simultaneously chilling and touching. It is a stand out performance from an ensemble filled with amazing work.

The at the center of the second act - and perhaps the longest sequence of the opera - is a harrowing "pageant" a ballet of depraved sexuality played out by some of the prisoners for the entertainment of the rest of the gulag. The symbolic meanings of what goes on are made clear without feeling obvious. It is stunningly choreographed (as is most of the movement seen throughout) by Chereau's collaborator Theirry Thieu Niang.

Centering on the lives and stories of these men, Chereau tends to keep the spectacles down, but he cannot resist giving us several arresting coups de theatre, particularly at the end of each act. Each of these is, in their own way, visually stunning and complimentary to Janacek's amazing score.

Everything comes together perfectly, every element of the score, drama, characterizations and visual elements serves to bring this difficult work to life and when it's brief 100 minutes are over, every feeling, every emotion was felt both deep in my bones and raw on the surface.

There is a fascinating 48 minute feature on the "making of" this production which, likewise, is not to be missed.

I am thrilled that the Metropolitan Opera will be featuring this production in its 2009/10 season and wild horses won't be able to keep me from being there.

p.

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Rating: - The living dead
Prior to watching this, I had never seen or heard this opera before, but I like Janacek, love Dostoevsky, so I thought I would give it a try. Good call. From the House of the Dead is a bleak but essential opera, and Stephan Metge's film of Patrice Chereau's dank, foggy, severe staging makes for a powerful viewing experience. Almost from the first note I fell in love with Janacek's score. The composer has created a brilliant melange of lyricism and dissonance where the orchestration is more important than the vocalism. The singing in this opera is non-melodic, at times sparse, austere, almost conversational. What melodies there are are all contained within the instrumental portion of the score, it's Janacek's schizophrenic orchestration that sets the mood, creates tension and individualizes the characters. And the tension rarely comes to a stop, even when very little is happening onstage.

Based on Dostoevsky's experiences in a Siberian prison camp, Janacek's opera has no real story, although it begins with the imprisonment of a nobleman and ends with his freedom. Not much happens over the course of three acts, yet we learn about the lives of some of the prisoners, the crimes they committed that brought them there, almost uniformly crimes of passion(Janacek, wisely, doesn't ask us to sympathize with the crimes, he only wants us to respect the incarcerated as flawed beings). There is a strange lack of regret among the men, almost as if the years of being jailed have beaten much of their feeling out of them, other than their loneliness, plus traces of anger and sadness for what's been lost. By the time we meet them the men are threadbare, submissive, seemingly robbed of their passions, a far cry from the hotheads sent to prison for giving in to their violent desires. Yet these men are far from dead. They tend to an injured eagle and revel in its eventual freedom, show an interest in each other's histories, and enthusiastically perform a couple of pantomimes that, like Hamlet's play within a play, have relevance to the bigger picture. Occasionally, they turn their suppressed rage against each other. They even form bonds, the most of touching of which develops between the nobleman(the newcomer among the bunch) and a young, heartsick prisoner who seems to have captured the sympathies of almost the entire population. Although the details of their friendship are given only a small amount of attention, at least in the larger scheme of the opera as a whole(the older man teaches the younger to read and write and through this becomes a paternal figure), the audience has no trouble feeling empathy, and being moved by their bittersweet separation which comes at the end of the piece. This is partly because of Janacek's music, his mastery at subtly painting an emotional connection, a dramatic minimalism so to speak(this opera has not a trace of melodrama except for that which is contained within the various prisoners' narratives) and partly because the prisoners as a whole converge into a single collective character, forcing the audience to connect with each experience. No prisoner's story has any real precedence, and yet they all manage to be effective. Hence, the title House of the Dead becomes ironic; the prisoners, despite their disenfranchisement, despite having a good deal of their vitality drained out of them by years of isolation, are still very much alive.

This production takes place before an audience, but it looks more like a film than the typical taping of a live performance, and the audience doesn't even realize that it is live until the curtain drops on the final act. Chereau and Metge have created a stark look for the film, effectively creating a sense of imprisonment and deprivation, which contrasts to a certain extent with Janacek's mood-swinging music, running the gamut of emotions, but is appropriate for the overall feel of the piece. There is little hope in the narrative and therefore in the lighting, sets, costumes or camerawork; even the ending, when both the eagle and the nobleman are released into the wide open, is handled in a delicate and non-commital manner rather than being celebratory. Nonetheless the opera and film do manage to be uplifting, in their own way, and the emotional effect is as overpowering as Verdi or Wagner while lacking those composers' sweep(which would have been inappropriate here). Despite the subject matter, this work of art goes beyond simply being disturbing, thanks to the fact that it is empowered by a heart and a soul.

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Rating: - A searing and memorable final production from Boulez and Chereau
Janacek's final opera, composed in 1927-28 and given its posthumous premiere two years later, is based on the Dostoyevsky novel written in 1861-62 in which the author renders his own prison experiences. The story as seen in the opera is not presented in a linear fashion, rather it is like a Robert Altman film such as Nashville or Short Cuts where an ensemble cast presents several intertwined stories of a disparate nature and with varied emotional impact. Janacek chose six characters and their compelling stories to focus on, reducing the novel's sprawling, amorphous structure into a more manageable form. The selection by Janacek is masterful: we are drawn into this bleak world with its ever-present despair and random violence because we identify with the plight of the inmates. It is a world later visited by Kafka, cold gray prison walls functioning as real and metaphorical agent of enslavement. It is the perfect paradigm of the twentieth century.

Janacek's music is astringent, slightly dissonant but tonal and often strangely lyrical. The amazing musical renaissance of his final years, one in which he discovered his true musical voice during his sixth decade, is reminiscent of Rameau. This uniquely modern lyricism and his expert choice of material makes Janacek one of the most important opera composers of the early 20th century. If you are unfamiliar with his work, this DVD is a fine place to begin. It is a superb performance in every way. Boulez conducts the Mahler Chamber Orchestra and the Arnold Schoenberg Chor with his typical steely precision. His emphasis on sonority is perfect for this opera. Voices and instruments are sharply defined, crystalline in sound but without brittleness. The conductor's musical vision is like an edifice built of soft marble: the structure is polished and solid, adamantine but pliable. The effect is both warmly human and coldly monumental. It is a fierce, incendiary performance that will leave you marveling at how much impact a 100 minute opera can provide.

In director Patrice Chereau's brilliant 2007 production, all of the singers are splendid. This is a true ensemble performance. The costumes are nothing more than the filthy rags of the gulag. It is not pretty, nor should it be. The set consists of towering gray prison walls enclosing a drab, depressing prisonyard. The angular walls suggest a massive, impersonal labyrinth. The sole symbol of hope in this sorrowful opera is a tattered wounded eagle: much like Beckett's solitary tree, with its single leaf tenuously fluttering in the breeze, in Waiting for Godot. The images are searing but disturbingly familiar, for this universe is also wounded. The random brutality we witness is life in its most basic and cruel guise. We spend all of our lives trying to keep this version of life at bay. We don't always succeed. This opera is for those times. You won't soon forget this masterful production.

The opera was filmed in July 2007 in high definition and looks splendid. Sound in PCM stereo and DTS 5.1 is crystal clear. The DVD contains a 48 minute bonus making of film as well as the 100 minute opera. There are the usual DGG menus.

One of the finest DVDs of the year, this is an exemplary performance that is most strongly recommended.

Mike Birman

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Rating: - excellent late Janacek
I have no idea how this compares to Charles MacKerras' cd versions of the opera, nor do I care - I'm keeping both (I own the Decca/Vienna Phil. recording from MacKerras). Watching this on dvd brings the story and action to a whole different level, especially when the acting is as visceral and excellent as it is here. Of course, the real star of the show is Janacek's amazing orchestral score (for me, anyway), and the Gustav Mahler Chamber Orch. do an outstanding job from start to finish. Even if you don't find Janacek's vocal writing to your liking (don't look for many pretty arias here), or the story too unsavory, "FTHOTD" still possesses one of the greatest opera preludes ever composed. This may seem like a petty detail, but I like it that the camera cuts to the percussionist who's lifting and shaking the chains - as in the prisoner's chains! - during the prelude.

Also enjoyable for me is a series of different rehearsal segments, added as a bonus. In one bit of footage, Chereau is giving incredibly minute acting instructions (more like coaching) for the sequence where some of the prisoners put on a play for the others. Another rehearsal segment has Boulez going through bits of the prelude, leading into the start of Act 1. As could be expected, Boulez is very careful and precise with rhythm and balances. Interesting stuff.

Bottom line: if you have the slightest interest in late Janacek; Dostoevsky realized; Boulez, as a conductor; great opera dvd's in general, whatever - GET THIS!