Semiramide is ideally an opera for the big night out rather than the cosy evening at home‚ but‚ as the chances are remote of its turning up at one’s local (whether that be the regional Arts Centre or Covent Garden itself)‚ it might be neglectful to pass up on the chance of a share‚ however vicarious‚ in the splendours of the Metropolitan. Hesitation (‘might be’) arises partly on account of the opera itself. There is a grandeur in its conception‚ and at certain points the score rises to greatness. But it is uneven and very long. The length/worth ratio may satisfy; yet‚ shelving it now‚ I can’t help wondering when it will be taken down again. The other doubt concerns the leading ladies. June Anderson sings well and Marilyn Horne magnificently. Even so‚ this being a video‚ and some semblance of dramatic credibility being in order‚ their identities are none­too convincing individually and their relationship as mother and daughter needs more than old Ninus’s affidavit to make the impossible appear as truth. At no stage are we likely to think of the production as anything other than an impressive spectacle and the occasion for some virtuoso singing. And certainly the standard of singing is worthy of the house. All four principals are technically proficient‚ fluent in their runs‚ covering the wide range of their vocal lines‚ and producing tones that are distinctive and firmly placed. Assur is one of Samuel Ramey’s best roles and he is on excellent form. The tenor has less to do‚ but Stanford Olsen’s well­schooled lyricism gives special pleasure. Visually‚ the stage is dominated by the tall patriarchal figure of John Cheek as the high priest Oroe. The men’s chorus sing particularly well and all move with assurance to their symmetrically appointed places. Costumes are sumptuous and combine with the sets to cast a rich glow over John Copley’s somewhat dully formal staging. Orchestral playing under James Conlon is thoroughly reliable. Brian Large’s video direction sees to it that close­ups and long­views are duly proportionate and that we at home feel we might not have seen so well even had we booked for that big (and expensive) night out.