Rachmaninov - The Miserly Knight / Vladimir Jurowski , Sergei Leiferkus, London Philharmonic Orchestra , Opus Arte

Interested readers should examine the reviews for the 2005 edition for more detailed examination of the content. I am writing with the assumption that the potential buyer will look at those reviews as well as mine (or in preference to mine. As to my views, here they are:If ever you had the desire to see what Americans conceive an archetypal Russian story to be, this short opera by Rachmaninov, based on a story by Pushkin, will fill the bill. Not one character worth weeping over, much less identify with, not one action untainted by greedy self-interest, rampantly anti-semitic characterization, dim, dark and gloomy. On the other hand, as other reviewers have amply pointed out, the acting, singing, staging, scenic design, music, direction, and conducting are first rate. It is a work of which Glyndebourne rightly can be pound. (The other short opera which shared the bill, Puccini's, Gianni Schicchi, has been issued separately on another high definition DVD. From a few brief excerpts appearing in the "Extras" in this album, it would appear to be beautifully done.) Given the length to which the other four reviewers have gone to elaborate upon the production, I see nothing much worth taking your time to add, save to explain, that my five star rating should be taken, in the familiar words, to mean, that this is a fine choice, for people who like this kind of thing; others may well find it a rather dismal waste of time.

This production is staged with minimalist sets. The words of the libretto are firmly rooted in the middle ages. The son's description of the recent tournament suggests the 13th century. So, why are is the duke wearing a double-breasted suit and a cravat? Why is the moneylender wearing an overcoat instead of the caftan required by medieval law? The incubus who haunts the baron's castle is another touch of silliness not called for in the libretto. Fortunately, the singers are more than up to the task of making you hear their voices and forget their ridiculous costumes. All four men are great singing actors who use facial expression, body language, and vocal timbre to convey the emotions of their characters. Lieferkus is the star, but Berkeley-Steel as his son and Schagidullin as his feudal lord are matches for him. The melodies in Rachmaninoff's score not memorable, but they support the dark plot perfectly.