3/5 A lazy attempt...
  by Matthew P. Neumann (Houston, TX)
Daphne is some of R. Strauss's most gorgeous music. Unfortunately, the show is almost never performed. Further more, this is the ONLY DVD version available. I fear that there are 3 things working against the opera that prevent it from being performed more frequently. 1) the role of Daphne is incredibly difficult. No, the high notes are not the highest written, and no, the opera is not hours long. However, for the entire hour and a half (no intermission), the role consistently sits in a very high place for a lyric soprano. There is almost no middle voice implemented throughout the score. Rene Fleming recently made a CD recording and openly admitted that should would never perform the role in a fully-staged live performance (although I don't believe this was an appropriate role for her in the first place). June Anderson has the notes, but again, it's the wrong voice for the role. 2) the role of Gaea requires the performance of the lowest note written for a woman EVER. It's a low E, and a stretch even for some tenors. Let's be honest it's even on the low side of the middle range for baritones! Finally reason 3) At the end of the opera, Daphne turns into a tree, in front of the audience, while singing (at least that is what is meant to be conveyed). This production didn't even try. Walking in a circle does not have any significance to turning into a tree. Come on!

Needless to say, I was disappointed with this DVD. I really do believe that the score itself is some of the most glorious and moving music written for the operatic stage. Daphne's final scene "Ich komme..." get's to me every time I listen to it. My suggestion, find a recording on the EMI label with Lucia Popp singing Daphne. It is currently out of production, but there are some old copies floating around out there. Her voice is absolutely pristine and exactly what the role needs. I find that listening to that recording is far more moving than this DVD. Although, I do appreciate the fact that someone made an attempt (although a lack-luster one) to put this magnificent opera onto film. I think 3 stars is fair.

5/5 glorious music
  by jeremy peterman (tempe, AZ USA)
the stage set is very cool ! and because it was done in 2004, i believe, the video quality is very high. as always, june anderson's high notes just float up there with efficace ; the 2 tenors do a heck of a job with their demanding roles. i own most of strauss's operas on DVDs and CDs, and this is one of the most "different" that i've experienced so far, musically speaking. it is almost naughty to my ears, in a very very good way

4/5 Nice production, good singing.
  by Opera Forever! (Netherlands)
The staging of this 2005 production is quite interesting, because it works in all its modesty. It is, of course, a matter of taste, but I like a sober approach, because it brings your attention to the centerpieces of an opera: music, words and acting skills.

June Anderson, 52 at the time of this production, is in fine voice. Perhaps, at times, her voice is a bit too dramatic for portraying a young girl's laments, but her portrayal of the innocent Daphne is sincere and she uses her acting skills to great effect.

I wish I could say the same about Scott Mac Allister's Apollo. Surely, the voice is there and it has a commanding presence suited for the role - which reminds me a bit of James King's beautiful tenor voice - but at times he just forgets to act! He also seems to have some trouble reaching for the high notes, although, if I'm not mistaken, he reaches them all.

Roberto Sacca is a fine Leukippos with a ringing voice.

The playing of the Orchestra of La Fenice under Stefan Anton Reck is fine and consistent, although not extraordinary in any way.

The sound and video quality are excellent.

Let's come to a conclusion (in which I compare this recording to my favourite: the 1964 live production on Deutsche Grammophon (only audio)): June Anderson is no Hilde Guden, Scott Mac Allister no James King, Roberto Sacca no Fritz Wunderlich, and, finally, Stefan Anton Reck is no Karl Bohm. I would say: These days are gone and we have to deal with that.

But: it is a throughout enjoyable production, captured by modern technology (no audience noises like in the 1964 production), with fine singing and playing in an interesting set design. Furthermore: it is the only commercial release of this Strauss opera on dvd to date!

So: buy and enjoy this neglected masterpiece!

3/5 Contrarian View
  by Eulenspiegel (WA)
I love Daphne. Let that be said at the outset. It may not be the greatest Strauss opera, but it has a warm, gentle beauty to it, and there isn't a single note out of place, so it has a special place in my heart. For this reason, I was delighted to discover this DVD, and after reading the rave reviews, I was excited to watch it.

I can only say that I came away feeling disappointed.

Not by June Anderson. Even though the role isn't exactly type-casting (what I wouldn't give to see and hear her in "The Egyptian Helena," for instance!), she does a stunning job that on its own would deserve 5 stars. The same should be said for Roberto Sacca, who not only sings beautifully (and accurately) but fully captures the spirit of his character, Leukippos. For that matter, the supporting characters and the orchestra also do a great job.

Unfortunately, one of the key three roles, that of Apollo (Scott MacAllister), is not up to the same level. His singing is forced (also occasionally inaccurate), and his German pronunciation is sometimes downright embarrassing. Worse yet, his acting is just dreary. Much of the time, this "god" seems tired and passive. Especially in the great love scene, his Apollo is so apathetic that it's up to Daphne to kiss him instead of vice versa (making hash of a major plot point). This last may not be entirely his fault, however. Such a major departure more likely comes from the director, in which case one has to wonder what on earth the director could be thinking.

This brings me to the most disappointing part of this performance: direction and production. For starters, the staging and costuming are at best lackluster. A more significant flaw is the lack of movement. While Daphne is not the most extraverted of operas, it's not an oratorio, and there is no excuse for the director allowing the cast to basically just stand around when the music calls for a little more motion. In particular, there really is no excuse for such a banal bacchanal! Never would I have pictured the worship of Bacchus as being so insipid.

However, the greatest sin of omission is the lack of transformation in the Transformation Scene at the end. This is supposed to be the high point of the opera. In fact, it is what the whole dramatic action is heading toward: the transformation of Daphne into a tree. The music is easily the most inspired Strauss wrote for this opera, and as Rudolf Hartmann makes very clear in his book on the staging of Strauss operas, the staging of this transformation can and should demand all the ingenuity a producer can muster. How shocked he would be to discover the much simpler solution this producer and director came up with: omit transformation altogether and simply have Daphne walk around! Since when do trees do that?! To be sure, June Anderson and the camera crew do their best not to make it look too foolish or boring, but it really is a woefully inadequate treatment of the transformation scene. Strauss -- and his gentle, otherworldly Daphne -- deserve so much better.

So...that's why only three stars. If I were just listening to the music, I would give it four stars (no more, as Apollo would still be sub-par even if we didn't have to watch him), but visually this opera is such a disappointment that my recommendation would be to simply buy a CD of Daphne and imagine the action yourself.

5/5 JUNE ANDERSON'S FINEST HOUR
  by William L. Phipps (Tuckahoe, NY United States)
Soprano June Anderson has had many an operatic triumph in her long career;
here however she achieves greatness. Her performance as Daphne is thrillingly sung and wonderfully acted. Not since Hilde Gueden has the
role been sung this well. Anderson reminds me a little of Vanessa Redgrave here. She brings a purity to her acting and a simplicity proving
that less is indeed more. I'm comparing Anderson to the highest because
that is the comparison she invites and has earned here. In fact, the entire production is splendid, running along traditional lines. Anderson
is surrounded by a fine cast of singing actors, especially Roberto Sacca
as Leukippos, who comes close to evoking memories of the late Fritz Wunderlich in this role. Highly recommended as a landmark achievement in
the career of June Anderson. Her height makes you believe she could sacrifice herself into a laurel tree, and her remorse at the end, and
subsequent forgiveness by Apollo is movingly portrayed. Richard Strauss
would have cheered this performance!!