Werther - 'Clair de lune' (Joyce DiDonato and Vittorio Grigolo, The Royal Opera)
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- Опубликовано: 27 сен 2016
- Joyce DiDonato as Charlotte and Vittorio Grigolo as Werther sing 'Clair de lune' from Jules Massenet's opera Werther, with Antonio Pappano conducting the Orchestra of the Royal Opera House for The Royal Opera, recorded in 2016. Find out more at www.roh.org.uk/werther
Jules Massenet began thinking about making an opera from Goethe’s Die Leiden des jungen Werthers (1774; The Sorrows of Young Werther) as early as 1880, before he started work on Manon - though in his memoirs he claimed inspiration came in 1886 during a visit to Bayreuth to see Wagner’s Parsifal. He began the score in 1885 and finished it in 1887, but Werther’s premiere did not come until 1892, when the Vienna Hofoper requested another Massenet work after the success of the local premiere of Manon. It has been a permanent part of the international repertory since 1903. Werther and Manon have proved Massenet’s most enduringly popular works.
The excellent libretto, prepared by Edouard Blau and Paul Milliet, distills Goethe’s Romantic masterpiece - their shortened version intensifies Goethe’s depiction of two passionate people each intent on hurting the other. Its spareness affords Massenet the opportunity to make his music not only delve into the psyches of the central couple but also describe the damage they cause to Sophie and Albert. The score displays Massenet’s gift for melody, with the ‘Clair de lune’, ‘Lied d’Ossian’ and Charlotte’s ‘Prière’ now some of his most loved music. Director Benoît Jacquot’s 2004 production for The Royal Opera, with elegant set designs by Charles Edwards, makes manifest the opera’s theme of keeping up appearances while torrid passions rage beneath. 
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Such spectacular vocalism - the balance between the singing & the acting is so incredibly exciting. Neccesarily indulgent. How wonderful to see such mastered craft.
Both, beautiful & sublime
unforgettable performance. Really touching.
Fantastic, seamless, performance of two greatest singers of our time
Eine wunderschöne Oper, sehr gefühlvoll! Diese Szene ist mit einer meiner Lieblingsszenen, sehr schön umgesetzt von den Interpreten!:-)
I can't wait to see this!!!!!!
Magnifiques les deux !
Un rôle qui va parfaitement à la voix de Vittorio Grigolo...Quand à la sublime Joyce Di Donato, elle incarne une Charlotte bouleversante...Ils sont admirables dans ce si touchant duo...L'une des représentations avec ces deux grands artistes a certainement été enregistrée...Peut-être alors aurons-nous la joie de voir ce Werther sortir un jour prochain en DVD et blu-ray?...
An interesting duet. The opera is very nostalgic, yet poetic. Werther is one of my favorite french opera.
Che musica bella! È impressionante!
Sublime!
splendido!!!!
_Потрясающее исполнение:) Брависсимоڰۣ✿_
lieblich, sehr schön
Werther is on, right now, at the Royal Opera House in London. Juan Diego Florez is Werther & Isabel Leonard Charlotte. I couldn't get tickets grrrrr!
MARAVILLOSO DUO
Ahahhahahahah!
UGGGGH! The perfection of the stage direction at 1:02
Nairobi Young I
This is good, no doubt. But also look at the Met Opera Il faut nous separer.
The stage changes into a ballroom before your astonished eyes. You see them dancing. Then you see them strolling through a forest, before they arrive home. It's stunning!
And extremely well sung.
He reminded me of Jose Carreras - singing with feeling and expression
Will it be released on DVD?
Werther, Act I: "Il faut nous séparer" (Charlotte, Werther)
Beautiful
I do not understand the comment that the libretto depicts two people intent on hurting each other. Is that someone's idea of inserting a different idea to make it new?
65, sistema 2, clave de fa, vocal
In the book Charlotte always remained relatively indifferent to Werther. I feel like the opera is sort of forced to make that connection happen, but It'd be so interesting to see the pain of non corresponded love on the stage.
8
Debussy: Wait you're not supposed to do that.
When will Vittorio Grigolo trust himself that he doesn't have to overact and oversing to be expressive? This constant trembling in the voice due to over-expression is a barrier between him and his audience and reduces the glorious beauty of his voice.
His voice is too small for the roles that he sings. It's like when Freni sang Forza and Ernani. Her technique protected her voice but she was always pushing which made her singing sound flat and boring. He's got a great technique but he's best in L'elisir and Fenton, like Freni was best in Suzanna and Nanetta.
Peccato che manca la introduzione che e la più difficile!
is that Bette Midler?
Тенор - так себе
Such spectacular vocalism - the balance between the singing & the acting is so incredibly exciting. Neccesarily indulgent. How wonderful to see these such mastered craft.