The best Jeffrey Wells’s movies
We present our ranking of the best Jeffrey Wells’s movies. Do you love cinema? Or are you looking for a movie of your favorite actor to watch tonight? Surely you have some to see or that you did not know yet about Jeffrey Wells.
Carmen
7.8/10
Live performance from the Metropolitan Opera, 25 March 1997.
Richard Wagner: Parsifal
8.3/10
The Met production easily has the most beautiful staging, designed by Otto Schenck, who also produced the fabulous set for the Met's previous Ring cycle. Kurt Moll is a wonderful Gurnemanz, but compared to his studio recording under Karajan a decade earlier it has lost some of its original velvety body and luster. As Parsifal, Jerusalem is starting to show some wear and tear on his voice at the Met in 1992 as opposed to his prime form at Bayreuth in 1981, but is still quite good; only Placido Domingo could compete with him in the role at that time.
Il Trovatore
8.7/10
Luciano Pavarotti brings his spectacular voice and artistry to one of the most famous of all tenor roles—Manrico, the ardent troubadour, trapped in an impossible situation by forces beyond his control. The sensational Dolora Zajick, only days after her Met debut, gives an incandescent performance as the demented gypsy Azucena, thirsting for revenge against Count Di Luna (Sherrill Milnes). Eva Marton is the passionate Leonora, desired by both Manrico and the Count, and James Levine brilliantly leads the Met’s orchestra and chorus in some of Verdi’s best-known music.
Octagon
3.5/10
A man recalls a gruesome series of events as he attempts to separate his memories from delusions.
Un Ballo in Maschera
8.1/10
Verdi's opera performed by the Metropolitan Opera Orchestra and Chorus, conducted by James Levine. Starring Luciano Pavarotti.
Giordano: Andrea Chénier
This live from the Met telecast from October 1996 of Giordano’s infrequently performed verismo gem is an absolute pleasure to watch and listen to and I highly recommend it. Nicholas Joel’s production is extremely elegant while at the same time being simple and uncluttered. Act I, for example, is dominated by an enormous gilt-framed mirror precariously tilted. I assume that it is a metaphor for the imminent downfall of the decadent aristocracy at the party given by the Contessa di Coigny. The costumes designs by Hubert Monloup are terrific. The prerevolutionary costumes in Act I are simply stunning each one individually tailored for the choristers and major performers.
