Ernani (1982 TV Movie) User Reviews

Ernani is a fine Verdi opera sung most beautifully.

[emurray-2 · 10/10 · 29 July 2002]

Ernani is a superb Verdi opera. It requires singing of excellence.

The entire cast sings beautifully in this production. The orchestra is very good as well. Mirella Freni and Placido Domingo are true stars. Their performances could not be better. Enjoy this exciting opera.

An operatic jewel!

[TheLittleSongbird · 10/10 · 30 April 2011]

Ernani was a Verdi opera I was introduced me only recently. And while not my favourite Verdi opera, it is wonderful, with great characters, a compelling story and above all the amazing music. When it comes to productions/filmed versions, I have only seen two, both of which were fantastic. One was the 1983 Met production with Luciano Pavarotti, Leona Mitchell, Ruggero Raimondi and Sherrill Milnes(the standout of that performance). The other is this, which is for me the better of the two but only just.

The lavish costumes and sumptuous sets are wonderful, and the camera work is equally impressive. The story is always compelling with seldom a dull moment, helped by the lively orchestra playing and conducting. And is always the case with Verdi, the music is superb, the standout like the 1983 production being the duet between Silva and Carlo which is spine-tingling.

This 1982 production of Ernani is also blessed with uniformly fantastic performances, singing and acting wise. One thing I prefer (only) just is Ernani himself. Pavarotti in the 1983 production does do a fine job, but Placido Domingo with his well-proportioned voice, handsome presence and looks and a capability of becoming the character with a strong heroism is brilliant in the title role. There is also Mirella Freni, and her interpretation is also one I preferred here. Her voice is absolutely beautiful and her arias with some hints of Donizetti show off her voice beautifully, also she is very musical and has a wonderful alluring personality. Nicolai Ghiaurov I also admire for his noble, firm voice and he is excellent as the most splendidly-drawn character of the opera. Like in the 1983 production, the performance of Carlo particularly stands out and here he is superbly played by Renato Bruson, throughout he shows a powerful stage presence and a rich velvety voice.

All in all, an operatic jewel. If you want a production with fine singing, production design and music, Ernani is for you. 10/10 Bethany Cox

Round the Horn

[Gyran · 10/10 · 20 March 2007]

I was clearing the old videotapes out of my collection when I came upon this one. It is a visually spectacular La Scala production from 1982 and there is drama from the moment when a youthful-looking Riccardo Muti raises his baton. On the front row an elegant Italian woman suddenly leaps in the air and looks around as if she has been goosed by a man in the second row. Then she leans forward to glare at the orchestra members before settling back in apparent despair, with her head in her hands. Events are almost as dramatic on stage.

The opera starts with a rousing soldiers' chorus followed by a tour-de-force aria by Plácido Domingo as the outlaw Ernani. This is early Verdi, dating from 1844 and the influence of Donizetti is very obvious, both here and in Elvira's arias, sung thrillingly by Mirella Freni. The story is an eternal quadrilateral. Ernani, the bandit is rival in love for Elvira with Don Carlo, the King of Spain and with Silva, her elderly uncle. These baritone and bass parts are sumptuously sung by Renato Brusson and Nicholai Ghiaurov.

This is a story about masculine notions of honour. The three men have ample opportunity to kill their rivals at various points but refrain for reasons of chivalry. Vitally, at one point when Silva can kill Ernani, the bandit gives him a raincheck saying that if ever in the future he wants him dead all he has to do is sound his horn. In a fit of largess Don Carlo forgives everyone and preparations for the wedding between Ernani and Elvira are underway when a horn sounds.

I have always thought that the one, sure-fire way to distinguish between an opera and a musical is: if the hero ends up dead, it is a musical, if the heroine ends up dead it is an opera but Ernani confounds my theory. A reasonable feminist critique of this opera may be that Elvira should be allowed to choose her own husband rather than being squabbled over by three men who take little account of her feelings. Maybe that was why the lady in the front row was so angry.