Going to be unoriginal here with my comment, which is that this is a mixed bag. Music is great if you love opera. Otherwise, the pervasive vocalizing might border on torturous since it replaces most to all dialogue in the entire film, depending on the segment.
Going to be further unoriginal with my ranking of the ten segments, from worst to best.
Un ballo in maschera by Roeg: Zog looking like a teenage girl with a fake mustache further distracted from the already senseless amateur looking story.
Armide by Godard: Never been much of a fan of this supposed French New Wave "master"; this was no exception. Oh, wow, gay body builders can't be distracted by naked women. Who cares?
La vergine degli angeli by Sturridge: Black & White religious children's redemption? No idea, had to read an explanation to realize, nope, did not miss anything, did not understand because there was nothing to understand.
Nessun dorma by Russell: Surreal dreamlike nonsense, but there were some creative feeling moments with pretty gems with crystals. Sorta brought to mind some Xanadu? 80s?
Abaris ou les Boréades by Altman: We get to watch the audience rather than the stage. Novel approach, at least something different.
Liebestod by Roddam: Tristan und Isolde interpretation along with some childhood nostalgia for me with vintage Fremont Street & Las Vegas. Other than than, literally bloody senselessness.
Glück, das mir verblieb by Beresford: At least it was very pretty with the ornate set design in the desperate Bruges; young Elizabeth Hurley was also pretty.
Vesti la giubba by Brayden: Honestly, it won out because this segment was shown in small parts as intervals between the other nine. Made it much more bearable and allowed for more moments in quiet reflection on the sadness of the protagonist.
Depuis le jour by Jarman: Editing with the flashbacks was done well. The young Tilda Swinton successfully elicited an emotional response with respectable utilization of the music score.
Rigoletto by Temple: By a landslide, the best segment. The only one with a story that actually kept my interest. The only one that made me smile, even laugh a little. The only one that had true artistic merit that persisted throughout. Filmed on location in California's visually fascinating Madonna Inn. Seemed like only a few long shots; camera work was noticeably skillful. Would have given this segment a 7 on its own, maybe even an 8. Every other segment being a 0 to a very generous 5. Yes, the difference was that significant for me.
Going to be further unoriginal with my ranking of the ten segments, from worst to best.
Un ballo in maschera by Roeg: Zog looking like a teenage girl with a fake mustache further distracted from the already senseless amateur looking story.
Armide by Godard: Never been much of a fan of this supposed French New Wave "master"; this was no exception. Oh, wow, gay body builders can't be distracted by naked women. Who cares?
La vergine degli angeli by Sturridge: Black & White religious children's redemption? No idea, had to read an explanation to realize, nope, did not miss anything, did not understand because there was nothing to understand.
Nessun dorma by Russell: Surreal dreamlike nonsense, but there were some creative feeling moments with pretty gems with crystals. Sorta brought to mind some Xanadu? 80s?
Abaris ou les Boréades by Altman: We get to watch the audience rather than the stage. Novel approach, at least something different.
Liebestod by Roddam: Tristan und Isolde interpretation along with some childhood nostalgia for me with vintage Fremont Street & Las Vegas. Other than than, literally bloody senselessness.
Glück, das mir verblieb by Beresford: At least it was very pretty with the ornate set design in the desperate Bruges; young Elizabeth Hurley was also pretty.
Vesti la giubba by Brayden: Honestly, it won out because this segment was shown in small parts as intervals between the other nine. Made it much more bearable and allowed for more moments in quiet reflection on the sadness of the protagonist.
Depuis le jour by Jarman: Editing with the flashbacks was done well. The young Tilda Swinton successfully elicited an emotional response with respectable utilization of the music score.
Rigoletto by Temple: By a landslide, the best segment. The only one with a story that actually kept my interest. The only one that made me smile, even laugh a little. The only one that had true artistic merit that persisted throughout. Filmed on location in California's visually fascinating Madonna Inn. Seemed like only a few long shots; camera work was noticeably skillful. Would have given this segment a 7 on its own, maybe even an 8. Every other segment being a 0 to a very generous 5. Yes, the difference was that significant for me.