A modern masterpiece. I saw it for the firs time al the Teatro Real in Madrid and liked it so much that i bought tickets to see it again a couple of days later. It has become one of my favourites. This performance is very good. Thank you for posting it.
Saw this in Opéra Bastille yesterday. absolutely a very shocking experience to me. And the French audience did laugh at this line. Can you explain the humor in this to me? since I'm not French.
@@zacky8080 Bonjour, Je vous réponds en français, car même si je lis et écris l'anglais votre question est compliquée et je ne suis pas sûr de trouver les mots justes dans votre langue. J'ai aussi vu cet Opéra à paris il y a 15 jours. J'avoue que je préfère de loin cette version, qui ne cherche pas le réalisme de Sellars mais qui ne sombre pas trop dans la parodie et la parabole comme celle de Valentna Carrasco. Cela dit il faut tempérer, dans cette vidéo le son est mixé, les voix très en avant et les jeux de caméra soulignent très bien les attitudes et les expressions des protagonistes, le ressenti est forcément différent. par contre tous sont excellents et semblent investis à fond dans leur rôle. Évidemment cette impression est personnelle, mais j’aurais vraiment aimé pouvoir y être. Concernant votre question sur De Gaule, je crois qu'il est impossible pour quelqu'un qui n'est pas français de comprendre les rapports entre De Gaulle et la France, ni ce que recouvre le terme "Gaullisme", un mélange de fierté nationale , de patriotisme, de populisme et d'avancées sociales (souvent par crainte des communistes) avec ce qu'il faut bien appeler, un certain culte de la personnalité. Par contre les Français ne sont pas les anglo saxons, la contestation du pouvoir n'est jamais loin et, sauf pour quelques-uns il s n'y a jamais eu de vénération du personnage qui, maintenant on le sait, n'a pas toujours eu une attitude très claire (mai 68, guerre d'Algérie...)....la remarque "non pas de Gaulle" , fait rire car elle traduit le côté inclassable et imprévisible du personnage, qui a souvent su jouer sur tous les tableaux et dont la postérité est souvent revendiquée par des bords politiques opposés. Mon avis...en tous cas, moi aussi la remarque me fait sourire.
@@zacky8080its pretty much because De Gaulle had many conservative aspects to his government but also some more typically left-wing things, like a more regulated economy and splitting from NATO and Israel, and some random eclectic moves like sort of encouraging Quebec to separate from Canada. its also just a funny line because Mao is speaking reductively, although complimentary in a sort of backhanded way, to Nixon about conservative leaders like him and Britain's Edward Heath. then Nixon tries to join in, like "oh I get what you mean, like Charles de Gaulle too, you like him for the same reason" and Mao is like "oh no I would NEVER be so reductive about Charles De Gaulle". in other words saying De Gaulle is too complex a leader to be simply called a "right winger", but Nixon is *not* that complex and can be referred to in such a reductive way. which is a very funny thing for Mao to say to the face of Nixon himself, especially in the midst of *sort of* saying he likes Nixon, and especially when Nixon was trying to affirm what Mao was saying and find common ground. Mao is basically telling Nixon "I like you, you're a simple and predictable idiot. De Gaulle is special and interesting. you're not special at all, Nixon. I like that."
@@zacky8080follow up: its also possible the french audience found it funny because before Mao's next remark about not pidgeon-holing De Gaulle, it sounds like Mao is listing leaders he likes, among them America's and Britain's, and Nixon says "And France's leader?" and Mao says "No. Not France."
@@VolatileChemical That makes sense, but, to be fair, Nixon WAS a very intelligent statesman. He was as much a scholar as Kissinger himself. Read his books! They have fascinating insights about power, including psychological portraits of both Zhou Enlai and DeGaulle, but also of Churchill and Brezhnev. Even Goodman says it in the libretto: "Six Crises isn't a bad book!"
I first saw John Adams' dark, funny, touching masterpiece when it was staged by the Canadian Opera Company. I'm always amazed at how minimalist musical techniques can produce such thrilling results. I love the way it portrays historical events through the inner lives and psychology of the protagonists, who play their public, historical roles, yet speak in a fragmented dream language that lays bare their fears, alienation, trauma, and even madness. It cuts them down to size, yet also gives them a universality - even, for an hour or two, humanizing the monster that was Mao. Credit for that goes to Alice Goodman - the libretto is lean, clear poetry. June Anderson's Pat Nixon is vocally superb and breaks your heart, as the dotty, displaced First Lady gamely tries to anchor herself in this alien environment, never quite realizing how utterly out of her depth she is. So moving. I love this work and this production. A justly deserved and extended roar of appreciation from the audience. Bonus - unbelievably, no interruptions from RUclips.
Attended the Brooklyn Academy first performance in NYC (BAM). Seeing this brought back that incredible experience and just how remarkably energetic it all was and riveting as theatre. IMHO the minimalist style injected so much exciting, yet unsustainable, new energy into contemporary opera composition.
I was at this incredible Chatelet production by Chen Shi-Zheng! My favourite "Nixon In China" by far! June Anderson is so touching and of course the extraordinary Sumi Jo! Franco Pomponi is a 'tour de force' in the title role and Kyung Chun Kim is also quite splendid! The orchestra is excellent under the conductor Alexander Briger.
This is one of the great American operas and it's encouraging to see that it seems to be enduring in international repertoire. Thanks so much for posting this.
Many thanks for posting this wonderful performance. Have to say, it would be hard to beat Peter Sellars' staging [I saw it in San Francisco] of the arrival of 'The Spirit of 76'. But after that moment, this staging works very well, and I especially liked how they handled Pat Nixon's soliloquy, and Chou En-Lai's lament to close the opera. I was surprised to see June Anderson and Sumi Jo in the cast, since I've only heard them in 'bel canto' repertory. Sumi Jo certainly caught the humor of her character, and June Anderson got right to the heart of pathos for Pat Nixon. Brava to both. Franco Pomponi played Nixon as a man suffering from PTSD very well, and managed to sing beautifully as well. I would like to think that Peter Sidhorn was simply having a very 'off' night, and leave it at that. All told, I thoroughly enjoyed it, and am sharing it with friends.
I also believe this is a modern masterpiece of the late 20th century. As a political scientist, I also believe it is one of the most mature works of historical fiction I have ever seen. I can't but applaude Alice Goodman's ability to penetrate the pysche of these complex characters and bring out such credible portraits of them, in their earnest diversity, while remaining faithful to historical events. Zhou Enlai and Jiang Qing, in particular, are brilliantly written. Sadly, I do not like Adams' later operas as much as this one.
By the way, I made Spanish subtitles for this very performance. I'm willing to share them if you want. I find this performance to be the best live version caught on video anywhere.
I'm a Political scientist too! 😁 And about the subtitles, actually I dont know how to put thoose on the video. And about the performance, the original broadcast version whit Maddalena is far better. In this one of Chalatet, Kissinger is a horrible bass, just as bad as Mao. They look a like, very much, but the signig is really bad.
I found this production years ago as I was searching for Sumi Jo. She plays a very arrogant cruel Madam Mao . Member of the Gang of Eight. Today: China will never revert to the times of the last dynasty. From the north. Not a Chinese dynasty . Mongols from the north. If the West does not understand
So Beautiful to see opera isn’t dead Classical instrumentation, hand made art, theater, musicals and opera shall never die and forever continue to enrich human life!
That moment at 9:00 made me gasp the first time I saw it. In 30 seconds, the dynamics of the stage change completely. It creates a remarkable sense of depth and immensity. Arranged in the square of light, there could almost be dozens more moving in sync in the shadows. Genius. What a way to open an opera.
I believe it was in 1987 when I bought the first record of this opera. I have also seen the video recordings of the performance quite often and now there is this performance about 25 years later. It's a bit strange because the first performance was also the only one at the time. And how do I, as a fanatical opera lover, experience this performance? It takes some getting used to, but this is also a great experience. What is striking is the enormous change of the ballet (starting at 1:30:00), I would almost describe the original ballet as true to nature, with the performer and the dances probably meeting Mao's preference at the time. The ballet in this performance is completely different, I would almost say grown up. In short, with almost 75 years of opera listening experience: great that there is a performance again and especially considering the quality!
Those of us who saw it close to the Houston premiere knew it immediately. Hit with full force. What I imagine it must have been like at a Britten premiere.
Thank you so much for posting this. I'm disappointed the production didn't have an Air Force One mock up. I would put Franco Pomponi up there with James Maddelena (younger self)!! What a great Nixon!
I know! the music is beautiful, modern, deep and funny at the same time. Goodman's libretto also has a lot to do with it, but it's a reminder that it can be done today, too.
Amen, Carlos. And OH MY GOD... MELODY! In comparison to the gnarled, tangled dissonances that the cognoscenti were so determined to stuff down our throats post 1945 until the 70s or so. (Granted I do like MANY of those works [e.g. Bernd Alois Zimmermann's "Die Soldaten" and Penderecki's "The Devils of Loudun."]) But... This opera and "Doctor Atomic" are truly special works that I hope become canonical in the international opera repertoire. Cheers.
@@mrpablox127 fortunately they are not the main singers. I agree for Kissinger. Mao is OK, I think the forced singing is on purpose as it is for Mrs. Mao.
@@peterpan8147 Wouldn't we all like to know! His portrayal in this opera certainly isn't flattering. I seem to remember that, during the scene where the capitalist is abusing the women - by 'whipping them to death', Mrs Nixon says that he reminds her of 'you know who' (and of course the same singer plays the part of Kissinger and of the capitalist). His last words are 'go to toilet'. He then disappears, and we never see him again. Perhaps John Adams, or the librettist didn't know what to do with this character?
@@PatrickMcAsey It's not a capitalist. It's a feudal lord. Mao's entire quarrel was against the Chinese feudal system. Capitalism only entered China after Deng's reformist government.
Es con todo el gusto. Esta obra necesita ser más conocida, tanto la música como el libreto. Tengo otra versión, la del Met 2011 pero tengo problemas para subirla. Pronto, ojalá
I really enjoyed the instrumental underscore to this opera. And the make-up crew did a fabulous job with Chairman Mao, Henry K., and Mrs. Nixon; Richard Nixon not so much. Also, I would have liked English subtitles, as not all of the singing was easy to understand.
Although in opera, it must always the quality of the participants' voices that has primary determination in gauging the sucess of a performance, opera is also visual. So in this performance, after appreciating the magnificent vocal quality of Sumi Jo, we are also struck by the good fortune of having Asian faces portraying the Asian protagonists. Despite the audience's possible willingness to suspend disbelief in seeing non-Asians portray Asian roles in this great opera, it really does make for a more satisfying theatre experience to SEE two races. This is not racism in the political sense -- it's just good theatre.
Enough of this bs racism whatever agenda you’re trying to push. I am Asian and I don’t give a damn about what race of a singer is portraying whatever character. Just give me a good soprano to sing Aida, a good tenor to sing Otello, that’s all there is.
@@AP-dd3xp There's no agenda, the more traits the performer has in common with the character, the more we can guarantee that the performance will feel authentic and well executed. Sure there is the ability to learn more about the character, but that will result in more miniscule errors even with the best of actors. Also crediting yourself as Asian doesn't help your case in the slightest here as it is important for non Asians to be able to understand and express these details to others who don't.
@@AP-dd3xp You're right. Such a way of thinking is so naive, provincial and, finally, sort of unconsciously racist. So, an Asian should play only asian roles. White European guys would have all the rights to refuse an Asian Violetta, for instance. It sounds ridiculous.
Muy interesante, estupendos cantantes. Espero que exista tarde o temprano una versión con subtítulos en español y así poder enterarme de alguna cosa que se me ha escapado. Muchas gracias, no obstante por darme a conocer esta ópera.
One of the most amazing librettos ever written. It's a shame it's completely obscured by monotonous vocal writing and a big thundering orchestra that never gets out of the way for the singers to give it the quietness and sensitivity it deserves. (John Adams fans fight me, I'll admit he knows his textures and colours, but it's very frustrating to see someone writing so ferociously against the text).
Why the "sh" sound on the words "Heros" and "Bohemoth". Anyone know? If its to give a clearer 'h' sound then its slightly too much and gives less clarity to the text in my view!!
A few years ago a Cantonese opera about Donald Trump and his “secret sibling” in China came out. I take it as a brilliant pairing for thus innovative opera piece about another American president and China.
This version has a lot of good qualities. I like how they portray Nixon as vain, stupid and paranoid, That said, I don't think I like the minimalist set design as much as the new NYC version
The original Houston is sublime, and I've seen live in restagings with the original cast. But I think this production comes close. It's always great to see modern operas being restaged and evolving as they should do. I'd love to see more opera houses tackling Death of Klinghoffer as well, though it's less of a crowd-pleaser
@@scottfw1193 Didn't see original Houston, but saw the fall 1987 BAM version, which I think was the same, with a few polishes. I think exactly same cast, no, scott?
@@christophedevos3760 The time signature stuff is really hard in Adams, especially this earlier stuff. I can see why the French might not like Adams, as he is a genuinely American artist--they prefer their own fantasias on America, or artists who do the fantasizing for them, like Cimino, James Gray or Nicholas Ray.
Мы им первые стали строить заводы и это когда после войны с немцами все было в нашей стране разгромлено и перекалечено.. - пусть оперу напишут и Сталину и России посветят!
John Adams should not have changed the content of his great opera. His original version was the best reflection of history. He was poisoned by the environment he was living in later. It is a pity.
Are you perhaps thinking of another opera - Dr. Atomic, perhaps? I have the libretto from the original 1987 production; this performance follows it exactly. If there are significant changes stemming from some version prior to 1987, please tell us specifically what they are. Thanks!
"The greatest opera of a living composer." Maybe 'one of the more successful operas by a living composer.' This opera has a good libretto going for it, which also brings out a little more from the composer, compared to Adams' orchestral music, in terms of melody - as it would have to. But the harmonies are still unoriginal and mostly banal.
@@mrpablox127 One might be Chin's Alice in Wonderland - certainly not a great opera, but the music is infinitely more interesting than Nixon in China. As far as the libretto is concerned, it's is a little too dark for the source, in my opinion. The live puppetry in this particular production is rather alienating. But Chin's use of the orchestra is second to none. ruclips.net/video/_hXt-BPhRKA/видео.html&ab_channel=ContemporaryClassical
@@mrpablox127 not sayng is better than Adam's, but you can listen to: "Akhnaten" by Glass, "Anna Nicole" by Turnage, "Liquid Voices" by Jocy de Oliveira, "The Tempest" by Adés, "3 Minutos de Sol" by l Martinelli, "Alice in Wonderland" by Chin.
@@mrpablox127 Maybe not better, but Raskatov has some pretty good operas, as does Dalbavie. Reimann and Penderecki passed away recently. They both wrote masterful operas like Die Teufel von Loudun, Lear and Bernarda Albas Haus.
Fabulous, fabulous. More opera companies need to present this. A masterpiece.
I have been playing this for the past two months. A tremendous work, exhilirating and truly inspirational. Bravo Mr. Adams.
Would love to have English subtitles for this!
I might do that sometime!
A modern masterpiece. I saw it for the firs time al the Teatro Real in Madrid and liked it so much that i bought tickets to see it again a couple of days later. It has become one of my favourites. This performance is very good. Thank you for posting it.
Great costume design, great performances, everything about this is fantastic
I love how the "No, not De Gaulle" line gets a laugh from the French audience.
Saw this in Opéra Bastille yesterday. absolutely a very shocking experience to me. And the French audience did laugh at this line. Can you explain the humor in this to me? since I'm not French.
@@zacky8080 Bonjour, Je vous réponds en français, car même si je lis et écris l'anglais votre question est compliquée et je ne suis pas sûr de trouver les mots justes dans votre langue. J'ai aussi vu cet Opéra à paris il y a 15 jours. J'avoue que je préfère de loin cette version, qui ne cherche pas le réalisme de Sellars mais qui ne sombre pas trop dans la parodie et la parabole comme celle de Valentna Carrasco. Cela dit il faut tempérer, dans cette vidéo le son est mixé, les voix très en avant et les jeux de caméra soulignent très bien les attitudes et les expressions des protagonistes, le ressenti est forcément différent. par contre tous sont excellents et semblent investis à fond dans leur rôle. Évidemment cette impression est personnelle, mais j’aurais vraiment aimé pouvoir y être. Concernant votre question sur De Gaule, je crois qu'il est impossible pour quelqu'un qui n'est pas français de comprendre les rapports entre De Gaulle et la France, ni ce que recouvre le terme "Gaullisme", un mélange de fierté nationale , de patriotisme, de populisme et d'avancées sociales (souvent par crainte des communistes) avec ce qu'il faut bien appeler, un certain culte de la personnalité. Par contre les Français ne sont pas les anglo saxons, la contestation du pouvoir n'est jamais loin et, sauf pour quelques-uns il s n'y a jamais eu de vénération du personnage qui, maintenant on le sait, n'a pas toujours eu une attitude très claire (mai 68, guerre d'Algérie...)....la remarque "non pas de Gaulle" , fait rire car elle traduit le côté inclassable et imprévisible du personnage, qui a souvent su jouer sur tous les tableaux et dont la postérité est souvent revendiquée par des bords politiques opposés. Mon avis...en tous cas, moi aussi la remarque me fait sourire.
@@zacky8080its pretty much because De Gaulle had many conservative aspects to his government but also some more typically left-wing things, like a more regulated economy and splitting from NATO and Israel, and some random eclectic moves like sort of encouraging Quebec to separate from Canada. its also just a funny line because Mao is speaking reductively, although complimentary in a sort of backhanded way, to Nixon about conservative leaders like him and Britain's Edward Heath. then Nixon tries to join in, like "oh I get what you mean, like Charles de Gaulle too, you like him for the same reason" and Mao is like "oh no I would NEVER be so reductive about Charles De Gaulle". in other words saying De Gaulle is too complex a leader to be simply called a "right winger", but Nixon is *not* that complex and can be referred to in such a reductive way. which is a very funny thing for Mao to say to the face of Nixon himself, especially in the midst of *sort of* saying he likes Nixon, and especially when Nixon was trying to affirm what Mao was saying and find common ground. Mao is basically telling Nixon "I like you, you're a simple and predictable idiot. De Gaulle is special and interesting. you're not special at all, Nixon. I like that."
@@zacky8080follow up: its also possible the french audience found it funny because before Mao's next remark about not pidgeon-holing De Gaulle, it sounds like Mao is listing leaders he likes, among them America's and Britain's, and Nixon says "And France's leader?" and Mao says "No. Not France."
@@VolatileChemical
That makes sense, but, to be fair, Nixon WAS a very intelligent statesman. He was as much a scholar as Kissinger himself. Read his books! They have fascinating insights about power, including psychological portraits of both Zhou Enlai and DeGaulle, but also of Churchill and Brezhnev. Even Goodman says it in the libretto: "Six Crises isn't a bad book!"
I first saw John Adams' dark, funny, touching masterpiece when it was staged by the Canadian Opera Company. I'm always amazed at how minimalist musical techniques can produce such thrilling results. I love the way it portrays historical events through the inner lives and psychology of the protagonists, who play their public, historical roles, yet speak in a fragmented dream language that lays bare their fears, alienation, trauma, and even madness. It cuts them down to size, yet also gives them a universality - even, for an hour or two, humanizing the monster that was Mao. Credit for that goes to Alice Goodman - the libretto is lean, clear poetry. June Anderson's Pat Nixon is vocally superb and breaks your heart, as the dotty, displaced First Lady gamely tries to anchor herself in this alien environment, never quite realizing how utterly out of her depth she is. So moving. I love this work and this production. A justly deserved and extended roar of appreciation from the audience. Bonus - unbelievably, no interruptions from RUclips.
It goes way beyond minimalism almost immediately.
Attended the Brooklyn Academy first performance in NYC (BAM). Seeing this brought back that incredible experience and just how remarkably energetic it all was and riveting as theatre. IMHO the minimalist style injected so much exciting, yet unsustainable, new energy into contemporary opera composition.
I was at this incredible Chatelet production by Chen Shi-Zheng! My favourite "Nixon In China" by far! June Anderson is so touching and of course the extraordinary Sumi Jo! Franco Pomponi is a 'tour de force' in the title role and Kyung Chun Kim is also quite splendid! The orchestra is excellent under the conductor Alexander Briger.
This is one of the great American operas and it's encouraging to see that it seems to be enduring in international repertoire. Thanks so much for posting this.
Many thanks for posting this wonderful performance. Have to say, it would be hard to beat Peter Sellars' staging [I saw it in San Francisco] of the arrival of 'The Spirit of 76'. But after that moment, this staging works very well, and I especially liked how they handled Pat Nixon's soliloquy, and Chou En-Lai's lament to close the opera. I was surprised to see June Anderson and Sumi Jo in the cast, since I've only heard them in 'bel canto' repertory. Sumi Jo certainly caught the humor of her character, and June Anderson got right to the heart of pathos for Pat Nixon. Brava to both. Franco Pomponi played Nixon as a man suffering from PTSD very well, and managed to sing beautifully as well. I would like to think that Peter Sidhorn was simply having a very 'off' night, and leave it at that. All told, I thoroughly enjoyed it, and am sharing it with friends.
i was in the theater in Paris when it was premiered. It did not age. The two divas deliver!
I also believe this is a modern masterpiece of the late 20th century. As a political scientist, I also believe it is one of the most mature works of historical fiction I have ever seen. I can't but applaude Alice Goodman's ability to penetrate the pysche of these complex characters and bring out such credible portraits of them, in their earnest diversity, while remaining faithful to historical events. Zhou Enlai and Jiang Qing, in particular, are brilliantly written.
Sadly, I do not like Adams' later operas as much as this one.
By the way, I made Spanish subtitles for this very performance. I'm willing to share them if you want. I find this performance to be the best live version caught on video anywhere.
I'm a Political scientist too! 😁
And about the subtitles, actually I dont know how to put thoose on the video.
And about the performance, the original broadcast version whit Maddalena is far better. In this one of Chalatet, Kissinger is a horrible bass, just as bad as Mao. They look a like, very much, but the signig is really bad.
@@mrpablox127 I'd have to disagree. I love the 1996 recording by Edo de Waart very much, including the voices, but I actually love Alfred Kim's Mao.
I found this production years ago as I was searching for Sumi Jo. She plays a very arrogant cruel Madam Mao . Member of the Gang of Eight.
Today: China will never revert to the times of the last dynasty. From the north. Not a Chinese dynasty . Mongols from the north. If the West does not understand
Who is that tosser that made that remark
I am so excited for this version. I've only seen the 80s one which was good, but the clips of this look wonderful
J'y étais...Au premier rang... Quel choc ! C'était extraordinaire...
So Beautiful to see opera isn’t dead
Classical instrumentation, hand made art, theater, musicals and opera shall never die and forever continue to enrich human life!
That moment at 9:00 made me gasp the first time I saw it. In 30 seconds, the dynamics of the stage change completely. It creates a remarkable sense of depth and immensity. Arranged in the square of light, there could almost be dozens more moving in sync in the shadows. Genius. What a way to open an opera.
I believe it was in 1987 when I bought the first record of this opera. I have also seen the video recordings of the performance quite often and now there is this performance about 25 years later. It's a bit strange because the first performance was also the only one at the time. And how do I, as a fanatical opera lover, experience this performance? It takes some getting used to, but this is also a great experience. What is striking is the enormous change of the ballet (starting at 1:30:00), I would almost describe the original ballet as true to nature, with the performer and the dances probably meeting Mao's preference at the time.
The ballet in this performance is completely different, I would almost say grown up.
In short, with almost 75 years of opera listening experience: great that there is a performance again and especially considering the quality!
😊
Fantastic post! Keep opera alive and evolving. Both live and via recordings like this
A fantastic opera! Greetings from Austria 🇦🇹
Excellent work, greetings from Chile. Salutations de Chili 🍷
Me alegra que te gustara. No he podido subir los subtítulos en español. Saludos desde Colombia
@@mrpablox127 Ojalá algún día poder disfrutar de la obra Nixon in China subtitulada al español, sería genial
@@mrpablox127 Yo tengo unos que hice para mí mismo hace dos años. Te los puedo enviar, si quieres.
Maravilhosa Ópera! Excelente encenação e, acima de tudo, magnífico elenco! Bravi tutti!
The best staging I have seen.
This is _the_ most fabulous opera.
Greatest opera written in the last 50 years. A masterpiece and instant classic.
Agreed. Only Akhnaten by Glass rivals it, IMHO.
@@smguy7 I was about to say that haha. But yeah, this opera is very good
Careful with superlatives. There are many other composers who many unfortunately do not know.
@@Altonahh10
Messiaen's St. François d'Assise trumps Nixon and Glass' works, no question.
NOW we are beginning to see that this is a masterpiece
Those of us who saw it close to the Houston premiere knew it immediately. Hit with full force. What I imagine it must have been like at a Britten premiere.
@@MrsSedley
Peter Grimes, Death in Venice and Owen Wingrave. For sure.
THIS IS FABULOUS WORK.
Thank you so much for posting this. I'm disappointed the production didn't have an Air Force One mock up. I would put Franco Pomponi up there with James Maddelena (younger self)!! What a great Nixon!
Yes - it was a shame Maddalena had suffered quite a bit of wear and tear by the time Nixon arrived at the Met.
The greatest opera of a living composer.
I know! the music is beautiful, modern, deep and funny at the same time. Goodman's libretto also has a lot to do with it, but it's a reminder that it can be done today, too.
Amen, Carlos. And OH MY GOD... MELODY! In comparison to the gnarled, tangled dissonances that the cognoscenti were so determined to stuff down our throats post 1945 until the 70s or so. (Granted I do like MANY of those works [e.g. Bernd Alois Zimmermann's "Die Soldaten" and Penderecki's "The Devils of Loudun."]) But... This opera and "Doctor Atomic" are truly special works that I hope become canonical in the international opera repertoire. Cheers.
Naaaa.
That's a good one but not the best of a living composer. Check out Akhnaten by Philip Glass, the same minimalistic flavor and incredibly STUNNING.
@@ankhyewk1069 Thanks for your indication! It's also a great one, indeed.
I love this Music and this Opera very much plus the brilliant Performance of the Singers and Orchestra..
John Adams. Just saying his name gives me chills. Really.
He was named after two American presidents.
I had the opportunity to attend the performance in Paris. It is so good to see it again. Wonderful opera !
How bad is the virus situation in France now?
Kissinger is a horrible bass in this version, just as bad as Mao. They look a like, very much, but the signig is really bad.
@@meilinchan7314 rising again but with mandatory vaccination it might be OK. We still can live almost normally
@@mrpablox127 fortunately they are not the main singers. I agree for Kissinger. Mao is OK, I think the forced singing is on purpose as it is for Mrs. Mao.
Who is the conductor ?
Heny Kissinger is one of the few people still alive, who have been played in a great opera.
I always wondered how he thinks about this!!!!
@@peterpan8147 Wouldn't we all like to know! His portrayal in this opera certainly isn't flattering. I seem to remember that, during the scene where the capitalist is abusing the women - by 'whipping them to death', Mrs Nixon says that he reminds her of 'you know who' (and of course the same singer plays the part of Kissinger and of the capitalist). His last words are 'go to toilet'. He then disappears, and we never see him again. Perhaps John Adams, or the librettist didn't know what to do with this character?
No more. RIP Kissinger.
@@v.landim9606Rest In Piss indeed.
@@PatrickMcAsey
It's not a capitalist. It's a feudal lord. Mao's entire quarrel was against the Chinese feudal system. Capitalism only entered China after Deng's reformist government.
Te agradezco por el material audiovisual y por el link con la traducción. Es una gran fuente para los hispanoparlantes!!!
Es con todo el gusto. Esta obra necesita ser más conocida, tanto la música como el libreto.
Tengo otra versión, la del Met 2011 pero tengo problemas para subirla. Pronto, ojalá
John Adams is one of the greatest composers of the modern age! Hope one day to find a performance of Death of Klinghoffer uploaded to RUclips!
That would be great. If you haven't seen it, the movie made of it is quite remarkable.
There is one from Amsterdam. Adam himself conducts. Fantastic in every way.
I really enjoyed the instrumental underscore to this opera. And the make-up crew did a fabulous job with Chairman Mao, Henry K., and Mrs. Nixon; Richard Nixon not so much. Also, I would have liked English subtitles, as not all of the singing was easy to understand.
Looks a bit like Reagan In China.
Although in opera, it must always the quality of the participants' voices that has primary determination in gauging the sucess of a performance, opera is also visual. So in this performance, after appreciating the magnificent vocal quality of Sumi Jo, we are also struck by the good fortune of having Asian faces portraying the Asian protagonists. Despite the audience's possible willingness to suspend disbelief in seeing non-Asians portray Asian roles in this great opera, it really does make for a more satisfying theatre experience to SEE two races. This is not racism in the political sense -- it's just good theatre.
Enough of this bs racism whatever agenda you’re trying to push. I am Asian and I don’t give a damn about what race of a singer is portraying whatever character. Just give me a good soprano to sing Aida, a good tenor to sing Otello, that’s all there is.
@@AP-dd3xp He wasn't pushing anything.. Just acknowledging the artistic choice to use asians for asian roles.
@@AP-dd3xp
There's no agenda, the more traits the performer has in common with the character, the more we can guarantee that the performance will feel authentic and well executed.
Sure there is the ability to learn more about the character, but that will result in more miniscule errors even with the best of actors.
Also crediting yourself as Asian doesn't help your case in the slightest here as it is important for non Asians to be able to understand and express these details to others who don't.
@@lightyagami1058 You're mistaking theatre for reality. Normally, it's a mistake made by cinema goers.😊
@@AP-dd3xp You're right. Such a way of thinking is so naive, provincial and, finally, sort of unconsciously racist. So, an Asian should play only asian roles. White European guys would have all the rights to refuse an Asian Violetta, for instance. It sounds ridiculous.
Thank you so much for sharing, awesome!
That whole second act is electric!
Muy interesante, estupendos cantantes. Espero que exista tarde o temprano una versión con subtítulos en español y así poder enterarme de alguna cosa que se me ha escapado. Muchas gracias, no obstante por darme a conocer esta ópera.
Si vive usted en Madrid, estos días la tiene en el Teatro Real.
@@zosimo9024 Ya tengo las entradas. Muchas gracias
June Anderson and Sumi Jo are magnificent.
Wow. Sumi Jo
22:04, scoring I've heard in any opera!
I also like "I Was Looking at the Ceiling and then I Saw the Sky." I'd love to find a recording of Dr. Atomic.
For some reason finding this work on DVD is difficult....
Try MET for video and the concert album. Both have Finley as Oppenheimer.
Grande Opera. Lo affermo come italiano
Richard Nixon is the most lucky of them all because in 200 years, people will still pronounce his name due to this masterpiece,
Genial. Masterwork.
It’s so weird to see opera singers portray Nixon and Kissinger
that saxophone sound is gorgeous
Truly an inspirational idea. The subject matter is a Greek tragedy. Nixon striving to make his mark on history only to go home a fatally wounded king.
한국성악가들 레벨이 다르게 잘한다 ...진짜 최고다
Very interesting
καταπληκτικη οπερα και πολυ καλη παρασταση.υπαρχει και της οπερας παρισιων απο το mezzo επισης.
We studied this in my music class long ago as an example of minimalism
Its a really cool opera Thanks for sharing @patiño :-)
It's my pleasure. I have other version but the stupid RUclips don't let me upload it.
Wonderful, unique
genius composition Adams draw a examplaric Picture about this both
Countries in this Time…
that Act II choreography goes so hard
Music that haunts and rustles the parts of us we forgot we had.
The people are the heroes now
Love the red Converse shoes for the Red Army uniform. Worth an extra star.
1:56
4:58
13:18 "Your flight was smooth, I hope"
21:47
The rats begin to chew the sheets.
One of the most amazing librettos ever written. It's a shame it's completely obscured by monotonous vocal writing and a big thundering orchestra that never gets out of the way for the singers to give it the quietness and sensitivity it deserves.
(John Adams fans fight me, I'll admit he knows his textures and colours, but it's very frustrating to see someone writing so ferociously against the text).
1:40:49 some of the most fascinating development I have heard.
Ya, it's a beautiful moment
Why the "sh" sound on the words "Heros" and "Bohemoth". Anyone know?
If its to give a clearer 'h' sound then its slightly too much and gives less clarity to the text in my view!!
2:06:34 best scene
When I first heard this, on TV, I thought it was Philip Glass... Quite similar, isn't it?
Interesante
A few years ago a Cantonese opera about Donald Trump and his “secret sibling” in China came out. I take it as a brilliant pairing for thus innovative opera piece about another American president and China.
7:50 Civilization IV moment
Sounds a lot like Philip Glass, I like it
YES YES YES YES YES YES
Sorry, who is conducting?
This version has a lot of good qualities. I like how they portray Nixon as vain, stupid and paranoid, That said, I don't think I like the minimalist set design as much as the new NYC version
1:45:29 Flesh Rebels
Not a bite upon the sublime 1987 production by Peter Sellars
Yeah, I know, you are rigth
The original Houston is sublime, and I've seen live in restagings with the original cast. But I think this production comes close. It's always great to see modern operas being restaged and evolving as they should do. I'd love to see more opera houses tackling Death of Klinghoffer as well, though it's less of a crowd-pleaser
@@scottfw1193 Didn't see original Houston, but saw the fall 1987 BAM version, which I think was the same, with a few polishes. I think exactly same cast, no, scott?
The French don't like the music of John Adams too much. 😏 And the orchestra seems to struggle, with the tempo, and so on.
@@christophedevos3760 The time signature stuff is really hard in Adams, especially this earlier stuff. I can see why the French might not like Adams, as he is a genuinely American artist--they prefer their own fantasias on America, or artists who do the fantasizing for them, like Cimino, James Gray or Nicholas Ray.
❤❤❤❤❤1❤❤❤❤❤
This is before Richard Nixon let himself go...
sodelicious ...
Ignore this 7:49
Good
1:03:55 Cheers!
my bookmark 56:03
Мы им первые стали строить заводы и это когда после войны с немцами все было в нашей стране разгромлено и перекалечено.. - пусть оперу напишут и Сталину и России посветят!
Epic, 牛逼
2:06:07
Why does Nixon look and act like Ronald Reagan?
我也這麼感覺。
Between noise and music for tv commercials
中国没人编写一出京剧，讲欧美现代故事的？可惜了。
10:17
Chou en-Lai Schwarzenneger.
Let's talk about PEACE in Ukraine, right NOW !!!
SOME OF THE MUSIC SEEMS TO HAVE BEEN INFLUENCED BY THE SOUNDTRACK OF HITCHCOCKS ...NORTH BY NORTH WEST.
唱的好，演的不好。服化道都不如另一個版本。
John Adams should not have changed the content of his great opera. His original version was the best reflection of history. He was poisoned by the environment he was living in later. It is a pity.
What did he change?
Are you perhaps thinking of another opera - Dr. Atomic, perhaps? I have the libretto from the original 1987 production; this performance follows it exactly. If there are significant changes stemming from some version prior to 1987, please tell us specifically what they are. Thanks!
"The greatest opera of a living composer." Maybe 'one of the more successful operas by a living composer.' This opera has a good libretto going for it, which also brings out a little more from the composer, compared to Adams' orchestral music, in terms of melody - as it would have to. But the harmonies are still unoriginal and mostly banal.
Can you tell me what operas form living composers are better? And if you have the links to the perfomances, I want to listen and know other operas.
@@mrpablox127 One might be Chin's Alice in Wonderland - certainly not a great opera, but the music is infinitely more interesting than Nixon in China. As far as the libretto is concerned, it's is a little too dark for the source, in my opinion. The live puppetry in this particular production is rather alienating. But Chin's use of the orchestra is second to none.
ruclips.net/video/_hXt-BPhRKA/видео.html&ab_channel=ContemporaryClassical
@@mrpablox127 not sayng is better than Adam's, but you can listen to: "Akhnaten" by Glass, "Anna Nicole" by Turnage, "Liquid Voices" by Jocy de Oliveira, "The Tempest" by Adés, "3 Minutos de Sol" by l Martinelli, "Alice in Wonderland" by Chin.
@@mrpablox127
Maybe not better, but Raskatov has some pretty good operas, as does Dalbavie. Reimann and Penderecki passed away recently. They both wrote masterful operas like Die Teufel von Loudun, Lear and Bernarda Albas Haus.
Total kitsch.
Don't be mad at me, but it's disgusting…😢
What are your thoughts on Glass’ Einstein on the Beach?
what the fuck
Tedious; novelty value made it a hit.