Mar 31, 2022

Mozert: Avatus, A Musical Opera (Blur-ray review)

Lt. Sir Cedric Noel Vivian Barnstable III and His City Slickers. Lots of singers, too. Remastered 4K/4-D screen presentation. DDT-LSMFT 20.35 surround-sound audio track. Danish-only spoken language. Really Big Pictures; 2022; Really Big Blur-ray Discs 7.77.777.7777.etc.

By John J. Puccio

Anyone who doesn’t think that Avatusian composer-writer-producer-director-spot-remover J. Cameron Mozert’s 2022 movie epic Avatus: A Musical Opera isn’t the best 4K/4-D movie-musical-opera rip-off ever made is obviously unable to comprehend the genius behind this monumental project and deserves whatever ill fortune fate has reserved for him. In other words, if you don’t like this movie, you’re an idiot.

J.C. Mozert has generally reserved his best work for small-scale projects like Terminatoricus, Titanicus, and Aliens in the Atticus, but this time he has outdone himself with a musical opera so natural, so lifelike, so genuine, you’d think he used real people to perform it. Avatus: A Musical Opera (music by J.C. Mozert; lyrics by Mahatma Kane Jeeves; words by W. C. Dukenfield) stars counter-soprano Leonardo Di Capricorn as Jake Dawson; basso-profundo Kate Winstone as Rose Butler; alto-sexist Clarke Gable as Rhett Butler; mezzo-neen Sigorney Weaving as Robert Ripley; renowned hopscotch authority and part-time hockey puck Morgan Freeperson as The Great Mandala; and the incomparable Mac Demon as Francois “Sparkling” Perrier. Lt. Sir Cedric Noel Vivian Barnstable III and his Band That Plays for Fun support the singers with a deferentially recalcitrant opprobrium.

The music explores one man’s vision to bring to the masses of a dying planet, Avatus, the rugged indoor sports event known as Mallet-Style Quidditch (or MS Quidditch), a variation on the hammer throw and tiddly winks, using large wooden mallets. (And not be confused with Mullet-Style Quidditch, which requires participants wear their hair short in the front and long in the back).

Needless to say, the people of Avatus are reluctant to take up a new sport, far more content to continue their time-honored amusement of killing one another for power and wealth. Even Mandala, His Greatness, an instant fan of MS Quidditch, is appalled at his own Avatusians’ willingness to shed blood over trivialities like war and peace rather than over something really important like MS Quidditch. Nevertheless, the Greater Mandala plunges forward, organizing an MS Quidditch team to equal any in the universe. Since it turns out there are no other MS Quidditch teams in the universe, this is far easier done than said.

Unfortunately, no one in the known universe has ever figured out the rules for playing MS Quidditch, which somewhat limits the scope of its promise. But it does not stop either Mandala the Greater-Than-Anybody-Else or Mozert the Not-Really-So- Entirely-Great from forging headlong ahead in heading up their head count of headcheese (a necessary ingredient in any MS Quidditch game worthy of the name, although for what purpose, no one has determined).

By bringing MS Quidditch to Avatus, the Greatest of All Mandalas saves the sports-starved peoples of the planet from near extinction by encouraging them to stay in school, get high grades, go to college, become good citizens, cure cancer, end bigotry, prejudice, and hatred, establish eternal peace, and live long and prosper. More important, the Intergalactic Sports Television Network makes a fortune.

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We now return you to our regularly scheduled review:
Anyway, that’s about all the plot there is to the plot, plot wise, but the opera’s undoubted pleasures are its visual splendors rather than its narrative, and these splendors are simply splendiforous. Di Capricorn is divine, Winstone is winsome, Gable is glorious, Weaving is wonderful, Freeperson is frabulous, and, as expected, Demon is darling, especially in 4K/4-D. To feast one’s eyes on these individuals in all their grandeur is a banquet to behold. Which is about all one can do when one is hungry, stuck in a theater with 800 other people, and can find no way to the refreshment stand (or the exit doors). Oh, and there’s some singing in the opera, too. So there’s that.

Video:
Not content with conventional 2-D or gimmicky 3-D, this Blur-ray disc brings us Avatus, the Musical Opera in all its 4K/4-D theatrical-release glory. (A 4K four-dimensional motion picture provides an audience not only with the dimensions of height, width, and depth but adds the sensation of touch as well. Things don’t just jump off the screen at viewers, they actually hit them. This has inevitably led to several law suits (see our sponsors) from patrons claiming to have been maimed by flying MS Quidditch chips, but I understand most of the suits have been settled out of Quidditch court. I, myself, have never been struck by any flying objects during a 4-D movie, although a poorly thrown MS Quidditch grenade narrowly missed me on several occasions. I also understand that at least three actresses in 4-D movies have claimed they were casually caressed by overzealous theater patrons, again unsubstantiated, although what 4-D activities one pursues while in the privacy of one’s home is another matter entirely.)

Incidentally, the folks at Really Big Pictures are also making Avatus, the Musical Opera available on a standard-definition Digital Ultimate Disc (DUD), but, really, who would want the movie on an ordinary DUD when you could buy the 4K/4-D Blur-ray edition?

Audio:
Here, we get a loss-leader soundtrack in DDT-LSMFT 20.35 surround that closely matches what several people claim they heard in a theater. Is it worth upgrading your audio system to 20.35 for a single motion picture? The answer is a resounding, Yes! Especially when you consider that there is no way on Earth (or on Avatus) that you could fully understand or appreciate the game of Mallet-Style Quidditch without 20.35 speakers. Well, to be fair, there is no way on Earth (or on Avatus) you could understand or appreciate the game of MS Quidditch under any circumstances, but that’s beside the point.

Oh, and the sound is pretty sound, too.

Extras:
Because of the film’s raging length--5 days, 6 hours, 27 minutes, 30 seconds (or 7,227.5 minutes for the minutely minded, or 433,650 seconds for the compulsively compulsive)--Really Big Pictures didn’t have a whole lot of room left over for too many extras, even using a bi-quadral, multiplex-layered, high-capacity Blur-ray disc. So about the only supplemental materials we get are two of J. Cameron Mozert’s younger brother’s briefer briefs, Alienicus from 1986 and Aliensicus from 1997. Of course, they don’t compare with big brother J.C.’s monumental achievement, but they are useful to have around.

In addition, the disc contains approximately 4.7 scene selections; a six-hour theatrical trailer; Danish as the only spoken language; and some fishy-looking captions for the herring impaired.

Parting Thoughts:
Words cannot adequately express the joy, elation, bliss, delight, happiness, felicity, rapture, ecstasy, jubilation, enchantment, exultation, exhilaration, joie de vivre, or downright really good feelings one gets from watching Avatus, the Musical Opera, be it on the big 360-degree wraparound 4K/4-D screen at your local movie theater or on the 3” x 6” cell phone you use at home. Mark my words, Mark, Avatus, the Musical Opera will go down in history as one of the greatest film adaptations of an Avatus, the Musical Opera opera ever made.

And anyone who says otherwise is an idiot.

Cautionary Note:
A 4K/4-D Blur-ray disc must only be played on compatible 4K/4-D Blur-ray equipment (4K/4-D television, 4K/4-D Blur-ray player, 4K/4-D Blur-ray receiver, 4K/4-D Blur-ray speakers, 4K/4-D Blur-ray speaker wire, 4K/4-D Blur-ray goggles, 4K/4-D Blur-ray gloves, and 4K/4-D Blur-ray couch). Any attempt to play a 4K/4-D Blur-ray disc on an ordinary Blu-ray, DVD, HD DVD, LD, VHS, Betamax, Victrola, Dictaphone, or Vitaphone player will result in grievous bodily harm. For more information on the availability of compatible 4K/4-D Blur-ray equipment, visit https//:www.wereouttosoakyouforeverythingyouvegot.con.

JJP

To listen to an excerpt from this album, click below:

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Meet the Staff

Meet the Staff
John J. Puccio, Founder and Contributor

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on the Big Jon and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing for the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.

Karl Nehring, Editor and Contributor

For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to both its equipment and recordings review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me — point out recordings that they think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises Marantz CD 6007 and Onkyo CD 7030 CD players, NAD C 658 streaming preamp/DAC, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I occasionally do some listening through pair of Sennheiser 560S headphones. I miss the excellent ELS Studio sound system in our 2016 Acura RDX (now my wife's daily driver) on which I had ripped more than a hundred favorite CDs to the hard drive, so now when driving my 2022 Accord EX-L Hybrid I stream music from my phone through its adequate but not outstanding factory system. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has tolerably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom II Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can’t imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.

William (Bill) Heck, Webmaster and Contributor

Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.

The audiophile bug bit about the same time that I returned to classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Most recently I’ve moved to my “ultimate system” consisting of a BlueSound Node streamer, an ancient Toshiba multi-format disk player serving as a CD transport, Legacy Wavelet II DAC/preamp/crossover, dual Legacy PowerBloc2 amps, and Legacy Signature SE speakers (biamped), all connected with decently made, no-frills cables. With the arrival of CD and higher resolution streaming, that is now the source for most of my listening.

Ryan Ross, Contributor

I started listening to and studying classical music in earnest nearly three decades ago. This interest grew naturally out of my training as a pianist. I am now a musicologist by profession, specializing in British and other symphonic music of the 19th and 20th centuries. My scholarly work has been published in major music journals, as well as in other outlets. Current research focuses include twentieth-century symphonic historiography, and the music of Jean Sibelius, Ralph Vaughan Williams, and Malcolm Arnold.

I am honored to contribute writings to Classical Candor. In an age where the classical recording industry is being subjected to such profound pressures and changes, it is more important than ever for those of us steeped in this cultural tradition to continue to foster its love and exposure. I hope that my readers can find value, no matter how modest, in what I offer here.


Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

Contact Information

Readers with polite, courteous, helpful letters may send them to classicalcandor@gmail.com

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa