7.3 | / 10 |
| Users | 0.0 | |
| Reviewer | 4.0 | |
| Overall | 4.0 |
| Music | 100% |
| Foreign | 26% |
Video codec: MPEG-4 AVC
Video resolution: 1080i
Aspect ratio: 1.78:1
Original aspect ratio: 1.78:1
German: LPCM 2.0
German: DTS-HD Master Audio 5.1
English, French, German, Japanese, Korean
Blu-ray Disc
Single disc (1 BD)
Region A (B, C untested)
| Movie | 4.0 | |
| Video | 4.0 | |
| Audio | 4.5 | |
| Extras | 2.0 | |
| Overall | 4.0 |
Regular habitues of Blu-ray.com probably will easily recognize Erich Wolgang Korngold as having contributed some of the most iconic scores in motion picture history, including such venerable classics as A Midsummer Night's Dream, Captain Blood, The Adventures of Robin Hood, The Sea Hawk, The Sea Wolf and Kings Row. But even some ardent film fans who love Korngold’s patented blend of motif building and orchestration flourishes that recall Richard Strauss may not be aware of what an interesting assortment of non-film music he pumped out in his rather relatively brief life (he died at the age of 60). This Wikipedia page devoted to a listing of Korngold compositions gives some indication of the breadth and scope that Korngold offered in a really rather sumptuous oeuvre which may frankly not be huge by some “classical master standards”, but which is often quite inviting and perhaps unsurprisingly cinematic.


Das Wunder der Heliane is presented on Blu-ray courtesy of Naxos and Deutsche Oper Berlin with an AVC encoded 1080i transfer in 1.78:1. As can probably be made out quite easily in the screenshots accompanying this review, this is a rather spare production that emphasizes the almost overwhelming space of the "cell" where The Stranger is being held. The palette is also intentionally tamped down almost all of the time, with a surplus of slate grays, blues and blacks, and only occasional pops of anything else. Video Director Gotz Filenius tends to often frame things in wide shots that capture the entire proscenium, and as such fine detail levels can be fairly variable. In midrange and close-ups, fine detail understandably perks up, though the absence of any really profound textures on either sets or costumes may strike some viewers as a potential deficit. Clarity and sharpness are generally excellent and delineations of grays and blacks is typically very good as well. There are some very minor issues with banding, typically at the corners of the frame, but nothing that I'd term overly problematic.

Das Wunder der Heliane features LPCM 2.0 and DTS-HD Master Audio 5.1 tracks in the original German. Korngold's musical language is dense, but it's often very lyrical. There's not a gigantic difference in the stereo and surround tracks in terms of overall fidelity, especially since so many scenes play out between only two or three characters, but the surround track does provide a noticeable spaciousness, especially with regard to some of the orchestral textures, that the stereo track can't quite muster. The vocals are prioritized very well in both mixes. Jagde is an energetic tenor and delivers a powerful performance which is rendered flawlessly on this disc's audio. Jakubiak's soaring soprano is rather warm, considering a certain iciness that Heliane has to display at least with regard to The Ruler. The orchestra and chorus of the Deutsche Oper Berlin sound great under the baton of Marc Albrecht (Jeremy Bines is Chorus Master). There's some interesting choral work that's part of what amounts to the Overture, and the surround track nicely splays the singing to indicate it doesn't seem to be emanating from the pit.

Supplemental material comes from something The Brendan G. Carroll collection. Carroll is author of a Korngold biography entitled The Last Prodigy.

Das Wunder der Heliane is an opera stuffed to the gills with ideas, and that proclivity combined with the complexities of Korngold's music may make this a "hard sell", even for some diehard music theater aficionados. That said, I was really struck by the ideas Korngold and librettist Hans Muller-Einigen offer here, though some "true believers" may chafe at some of the underlying allusions to faith and what might be cheekily termed "personal eschatology" (i.e., death and/or resurrection). While the physical production here is intentionally spare, the performances are compelling, and the orchestral and choral forces very powerful. Recommended.