Jon Vickers Movies

This documentary is part one of a series featuring some of the greatest stars of opera, whose performances were captured on the Bell Telephone Hour Telecasts. These programs actually began on radio in the 1940s and then came to television in 1959; the last broadcast was in 1967. The telecasts represent one of the few programs on which commercial television gave a forum for classical music. Some of the operatic artists introduced to the television public and presented here are Anna Moffo, Joan Sutherland, Birgit Nilsson, Rise Stevens, and Richard Tucker, all of whom give unforgettable performances. ~ Rose of Sharon Winter, Rovi

Baritone Thomas Hampson narrates this overview of operatic treasures preserved on film. In addition to interviews, the two-hour documentary offers a rich clip compilation of legendary performers -- Conchita Supervia, Richard Tauber, Feodor Chaliapin, Maria Callas (a 1964 rendition of Puccini's "Vissi d'arte" at Covent Garden), Jussi Bjorling, Franco Corelli, Victoria de los Angeles, Kirsten Flagstad, Ezio Pinza, Leontyne Price, Beniamino Gigli, Luisa Tetrazzini, Fritz Wunderlich, Rosa Ponselle (an MGM screen test), Bjorling and Renata Tebaldi (duet from La Boheme), and Boris Christoff (Boris Godunov). Interviews include Jon Vickers, Rise Stevens, Giovanni Martinelli, and Magda Olivero. John Ardoin served as music consultant. Premiered March 25, 1998 on PBS. ~ Bhob Stewart, Rovi

This production of the opera Samson et Dalila was staged originally in San Francisco. Plácido Domingo and Shirley Verrett star as the title duo. The storyline follows the Biblical tale of the conflict between the Philistines and the Hebrews and shows how Dalila's influence brought about the end of Samson. ~ Perry Seibert, Rovi

In ancient Palestine, the Hebrews live as slaves under the Philistines. Samson, a Hebrew of enormous strength, appears and leads a revolt and kills the Philistine leader Abimelech after Abimelech tries to force the Hebrews to worship Dagon, a Philistine god. After his success, the beautiful, seductive Philistine Dalila entreats Samson to come to her that night, intending to trick him and learn the secret of his unnatural strength. Samson goes to Dalila and falls prey to her trickery, after which he is captured, blinded and led away. The Hebrews are once again in the power of the Philistines due to Samson's weakness with Dalila, and the once-mighty Samson is brought into a Philistine temple. There, he is ordered to pray to Dagon. Samson seems to acquiesce, but as he is led to the altar, he prays that his God will restore his strength for one last victory. His prayer is granted, and Samson smashes the columns that support the stone temple, bringing destruction to the temple and death to both his oppressors and himself. Among the many popular arias from this work are "Printemps qui commence," "Israël! romps ta chaîne" and "Mon coeur s'ouvre à ta voix." ~ Craig Butler, Rovi

The Metropolitan Opera mounted this September 25, 1978 production of Giuseppe Verdi's opera Otello, which the composer (in turn) originally adapted from William Shakespeare's classic tragedy Othello. It stars Jon Vickers in the title role, Cornell MacNeil as Iago, Andrea Velis as Roderigo and Renatta Scotto as Desdemona. The Metropolitan Opera Orchestra and Chorus lend musical support, under the baton of James Levine, with David Stivender serving as chorus master. Peter J. Hall designed the costumes, Franco Zeffirelli created the sets and mounted the production itself, and Fabrizio Melano directs for the stage. ~ Nathan Southern, Rovi

This video presents extended highlights from a 1976 production of Wagner's operatic tale of two young people whose love has been cursed by fate. Staged for broadcast by the Canadian Broadcasting Corporation, this production stars Jon Vickers as Tristan and Roberta Knie as Isolde; the supporting cast includes William Wildermann, Robert Calvert, and Victor Braun. ~ Mark Deming, Rovi

Oroveso, a Druid High Priest, gathers his people in a sacred forest and prays to their gods for help in vanquishing the Romans who have taken over Gaul. Unbeknownst to Oroveso, his daughter, Norma, a High Priestess, has for some time been the lover of Pollione, the leader of the Romans; she has, in fact, not only broken her sacred vow of chastity but has borne two children to the warrior. Norma uses her position to dissuade the Gauls from attacking the Romans, claiming that the gods have told her that the time is not favorable. Norma has also learned that Pollione has become interested in another woman, although her identity is unknown. That woman is Adalgisa, a young novice, who is unaware of the relationship between her new lover and Norma. When the truth is revealed, Adalgisa rejects Pollione, who still intends to take her back to Rome with him by force. The rejected Norma considers killing her own children, who may otherwise also be forced to go to Rome with their father. She cannot go through with this, and Adalgisa tries to intercede with Pollione on Norma's behalf, but to no avail. Furious, Norma tells the Gauls that the gods have told her that they now must strike against the enemy. Pollione is captured, and Norma offers to save his life if he will give up his new lover. When he refuses, Norma informs that Gauls that she has brought dishonor upon the temple and that it is she, not Pollione, that must be put to death. Moved by her sacrifice, Pollione chooses to die alongside her. ~ Craig Butler, Rovi

The Vienna Philharmonic and the Vienna State Opera Chorus combine to present this color-filmed version of the opera "Carmen." Film director Herbert von Karajan also serves as the conductor. Musically the version is good but often is plagued by uneven choreography. ~ Dan Pavlides, Rovi

In this live concert from the Canadian Broadcasting Corporation, renowned conductor Karl Bohm directs the Toronto Symphony Orchestra in his interpretations of Mozart's Haffner Symphony, Beethoven's Leonora Overture, and Wagner's Die Meistersinger Prelude. His featured tenor, the highly acclaimed Jon Vickers lends his celebrated voice to Florestan's aria from Beethoven's Fidelio and two arias of Siegmund from Wagner's Die Walkure. ~ Alice Day, Rovi

World renowned opera singer Jon Vickers is captured live on camera in three 1950s-era performances originally broadcast on Canadian television. The first broadcast, which originally aired on November 3, 1955, finds Vickers performing the role of Canio in Leoncavallo's Pagliacci. An excerpt from a December, 1954 broadcast finds Vickers essaying the role of Des Grieux in Puccini's Manon Lescaut, with additional performances from Puccini's Tosca and Verdi's Il Trovatore rounding out the release. ~ Jason Buchanan, Rovi

Georges Bizet's tragic opera arrives on home video in this performance of Carmen featuring Mirella Freni in the role of Micaëla, Jon Vickers in the role of Done José, and Grace Brumbry in the title role. ~ Jason Buchanan, Rovi