This is a production of the type still called conventional‚ though its kind is rapidly becoming so rare as to be more justly considered avant­garde. The sets are both imaginative and realistic‚ the costumes sumptuous and in period; lighting is atmospheric‚ the ballet well choreographed. The chorus sometimes looks rather spare‚ as though caught between individual responsibility and communal anonymity. The principals also give the impression that rehearsals have been of the ‘stand here‚ go there’ variety. They are also called upon to sing‚ and here the all­powerful producer can help only by not hindering. La Gioconda (with the exception of its ballet) is Italian through and through‚ and it wants Italianate voices. Eva Marton‚ even if her voice were 10 years fresher than it is here‚ would still not have the right kind of timbre for the music. She comes nearest to it in the chest notes of ‘Suicidio’‚ but the warmth of tone is missing as is the floating of high notes in ‘come t’amo’ and ‘volavan l’ore’. She has the power‚ in plenty‚ but not the quality. Ludmilla Semtschuk and Margarita Lilowa are acceptable but not vocally attractive in their respective roles of Laura and La Cieca. Kurt Rydl with his huge voice‚ lumpy and uneven in its vibrations‚ makes a personable Alvise but represents the antithesis of the true Italian school of singing‚ even as that (in its turn) is represented here by the sexagenarian Matteo Manuguerra. Take 10 years off his Barnaba (better still 20) and it would probably have been magnificent. Which leaves Domingo‚ who if not his absolutely best self is still in a class of his own. Adám Fischer conducts sensitively and the orchestra plays with distinction. The stage is not entirely well filmed‚ but sound is good‚ the DVD improving on the video.