| Users | 0.0 | |
| Reviewer | 5.0 | |
| Overall | 5.0 |
| Music | 100% |
Video codec: MPEG-4 AVC
Video resolution: 1080i
Aspect ratio: 1.78:1
English: DTS-HD Master Audio 5.1
English: LPCM 2.0
English, French, Spanish, German
50GB Blu-ray Disc
Single disc (1 BD)
Region A (B, C untested)
| Movie | 5.0 | |
| Video | 4.5 | |
| Audio | 5.0 | |
| Extras | 3.5 | |
| Overall | 5.0 |
Mention operatic adaptations of Shakespeare and images of Verdi most probably spring to mind. But two hundred years before Verdi tackled the Bard, Englishman Henry Purcell pulled out all the theatrical stops for what has been somewhat humorously described as a “semi-opera,” The Fairy Queen, rather loosely adapted from Shakespeare’s A Midsummer Night’s Dream. No one is quite sure who wrote the text (it’s not really a traditional libretto) which acts largely as a preamble to Purcell’s music, but consensus is it may have been Thomas Betterton.
One way or the other, this is a stuffed full to overflowing evening of spoken dialogue and incredible set pieces supported by some of the most ravishing music Purcell or anyone else ever wrote, and that very grandeur has led to The Fairy Queen being relegated largely to recordings, with relatively few actual staged productions over the past several decades. (From a historical perspective, the lack of productions can also be attributed to the fact that Purcell’s score was considered lost for several centuries until its discovery a bit over a hundred years ago).
The redoubtable Glyndebourne Festival had in fact never before staged this monumental work, but in 2009 they undertook the gargantuan task in a production helmed by Jonathan Kent, who for better or worse decided to present the piece more or less intact, as well as including a few interpolations from Shakespeare himself. That means you’re in for a Wagner-sized evening of music theater, albeit one without the portentous heaviness that usually accompanies the “Bard of Bayreuth.” In fact Purcell’s piece is, like its eponymous character, lighter than air, a spectacle in the best sense of the word that nonetheless rarely if ever gets weighed down by its own immensity.

The Restoration era parlor which opens this stunning new 'Fairy Queen'.

The Fairy Queen wings its way onto Blu-ray with a gorgeous AVC encoded 1080i "live" transfer, in a 1.78:1 aspect ratio. Starting with the Restoration drawing room opening, through the magical world of the fairies themselves, detail throughout this Blu-ray is often astounding, revealing all sorts of wonderful aspects of Paul Brown's incredibly inventive designs. The almost plasticene wings of the fairies glow in the brilliant stage lighting of Mark Henderson, who often illuminates the stage with some gorgeously saturated primary hues of red and blue. Black levels are nicely inky and shadow detail is exceptional throughout the three hours of the piece. No interlacing artifacts were noticeable and this is one of the nicest looking Blu-rays yet from Opus Arte, which has been setting the bar fairly high for live opera in high definition.

Even better is The Fairy Queen's absolutely brilliant DTS-HD Master Audio 5.1 lossless audio (a lossless LPCM 2.0 option is also available). There is simply no better Purcell conductor than William Christie, and the recording here matches his excellence note for note. Christie and his superb period instrument group The Orchestra of the Age of Enlightenment are one of the few troupes who can make historical instruments sound inerrantly facile, without the grating dry, almost sul ponticello, sound that often haunts the string section. We are greeted with an indelibly warm reading and recording of the score here, with just the right of subtle hall ambience from the "intimate" Glyndebourne hall. Because of the close quarters of the stage, there isn't a lot of overwhelming directionality from the actors and singers, but that's more than compensated for by the incredible clarity and nuance of this recording.

Two excellent interview supplements are included on this Blu-ray, a ten minute interview with director Kent, who talks about the challenges of mounting a production this gargantuan, and a 9:14 interview with conductor Christie, who offers some insight into Purcell's magical music.

It's not hard to understand why the original 1692 production of The Fairy Queen nearly bankrupted The Dorset Theater. Even had Purcell's score not been lost for centuries, few theaters probably would have undertaken to produce such a humongous spectacle. Luckily Glyndebourne (which itself even required some producing partners) went for broke with this presentation, and the result is one of the most magical evenings of music theater I've experienced in a great while. It may indeed be a tad too long for those with brief attention spans, but if you take a deep breath and simply relax into this "three hour (plus) tour," you'll be rewarded with an incredibly ineffable experience. The Fairy Queen has my highest recommendation.