Recondita armonia... | G. Puccini: Tosca | Jonathan Tetelman, Rafał Pawnuk | TAW
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- Опубликовано: 8 фев 2025
- Conductor: Marc Albrecht
Stage director: Martin Kušej
Lighting designer: Reinhard Traub
Costume designer: Su Sigmund
Set designer: Annette Murschetz
Dramaturge: Regula Rapp
Libretto: Giuseppe Giacosa, Luigi Illica
Floria Tosca: Kristīne Opolais
Mario Cavaradossi: Jonathan Tetelman
Il Barone Scarpia: Gábor Bretz
Il Sagrestano/Sciarrone/Un carceriere: Rafał Pawnuk
Cesare Angelotti: Ivan Zinoviev
Spoletta: Andrew Morstein
Contessa Attavanti: Sophie Aujesky
ORF Radio Symphony Orchestra Vienna
Chorus: Arnold Schoenberg Choir (led by Erwin Ortner)
![[Reality Check] Grigolo vs. Tetelman](/img/1.gif)
They changed libretto the so that it would fit the scenography… unbelievable.
Ormai cambiano tutto, anche lo spartito, è vergognoso
Dammi il Flipchart Marker.
This is ridiculous! How come I just got to know this tenor now?! Bravo! ❤
Wow Big voices coming back to ópera!
Inguardabile
Very beautiful!
Very beatiful!!!
Dieser Tenor wird 2023 zum Superstar !!!
Wonderful tenor! Egregious production!!
So a studio video recording , very nice, so now I want to hear him in a live in house performance
Teltelman concentrates very much on his loud high notes. The rest sounds like a different voice. He didn't impress me live.
@@Altonahh10 Heard him live as Pinky at the Met (he was fantastic). There is something to what you say. Above the passagio when singing loudly it's as if he hits a "turbocharger" and the volume jumps up. Mind you, the sound is thrilling - classic lowered larynx full breath singing at that volume. In quieter passages he tends to sing "in the mask" (ingolata) and I hope he can work on that. Additionally the voice is monochromatic but that's forgivable if he keeps blasting out those high notes cuz nobody else is. I think he's been listening to the great tenors of old (Corelli especially) as he sometimes extends a note for effect (as here in the last note of Recondita). Very old school and I'm all for it!
@@gerontius3 Thanks for sharing. I'm hoping to hear him live. I think Tetelman's volume jump above the staff is pretty normal considering he's only 36. The middle and lower middle take a little while to fill in. If you listen to Del Monaco in 1946, his voice is similar. It's very lyrical, but there's a big surge in volume on high notes that gives a hint of where it'll go long term. Link: ruclips.net/video/A5bS208Cecc/видео.html
Preciisa tu viz.❤
How can they change the text of Sagrestano? Only to fit with the scene? No no no...
They should never change the text to fit a concept. Besides people either wont notice or wont understand it.
J'apprécie les mises en scéne innovantes, quand elles respectent l'oeuvre de l'auteur...Depuis la création de Tosca, le 1er acte se passe dans l'église de Saint-André-de-la-Vallèe...Ici, dans cette production, c'est dans un décor hivernal, un terrain ennéigé avec une roulotte!...Décor qui pourrait d'ailleurs mieux convenir au troisiéme acte de la Bohéme; la Barrière d'Enfer...N'ayant pas vu cette représentation, bien qu'un peu surpris, je me garderai d'en dire d'avantage...Quand à Jonathan Tetelman, il est l'un des plus remarquables ténors actuels, et sans doute au début d'une brillante carriére internationale...
tout à fait de votre avis.... espérons seulement qu'il sache gérer ce superbe talent avec intelligence et discernement §
Was das Brüllen und das Dauerforte angeht hat er sich ein Beispiel bei Kaufmann genommen. Das Vibrato ist jetzt schon, in jungen Jahren, übersteuert. In wenigen Jahren endet er wie Jose Cura.
I refuse to watch this travesty of the opera Tosca. Tenor is great. I hope he never has to perform again is such a mess.
Ma è il 3 atto di Boheme?
He is wonderful
Rafał brawo
"Guarda là dietro!!!???!!!" .. così gran belle voci corrotte da una messa in scena che violenta dal profondo il libretto e il senso stesso dell'Opera! Vergognatevi, mentre un grande plauso per Tetelman che spero quanto prima di vedere ed ascoltare in una VERA Tosca di Puccini e non inun surrogato improponibile!
This looks like La Boheme 😲
This looks poor
... with some first act of the Valkyrie thrown in.
J. T. è davvero bravo ma l'hanno fatto cantare una romanza del primo atto della Tosca ambientata nel terzo atto della Boheme. Valli a capire questi registi.
I don’t understand. He’s supposed to be painting in a church Santa Maria Della Valle. This setting is completely wrong. But Jonathan Tetelman is a great Cavaradossi. ❤
Do you have full version of this record
Los 2 cantan precioso..
Bello il sagrestano.
Ma chi è che ha "ideato" questa orrenda scenografia? non ci sono parole per descriverla....
Jonatan bravo!!!!!!
La mise en scène una idiozia..😡😱.. Il canto? Una improvvisazione !😫🥵
Guarda la dietro? Adesso si permettono di cambiare anche il libretto? Ma sono tutti dei geni se si permettono queste cose caspita!!! Vergogna!!!
The following should be ashamed of themselves for their parts in this abomination: Conductor: Marc Albrecht, Stage director: Martin Kušej. Lighting designer: Reinhard Traub, Costume designer: Su Sigmund, Set designer: Annette Murschetz, and Dramaturge: Regula Rapp.
La voix est belle mais quelle mise en scène stupide !!!
Bravissino lui..... ma cos'è questa terribile scenografia!!!!!!!
Hate to see wonderful singers fighting trashy concept productions and silly stage direction.
Que patético, como es posible que los directores escénicos , estropeen la ópera
Por Dios, no lo entiendo
Non usa le risonanze superiori di maschera, come si comprende dai due passaggi: " Oh il mio sol" "Tosca sei tu" nei quali le due "o" sono gridate e la seconda (Tosca) anche tremante. Il motivo di questo tremulo eccessivo che si ascolta anche nella "a" di "Tosca" risiede proprio in questo difetto di emissione.
Ridiculous travesty of a production but certainly well sung. I think they changed some words in the libretto (imbeciles). "Tosca it's you" sung to the audience while she walks around the back of the stage like Trump when he was debating Hillary Clinton. Absurd.
声がもったいない。
His voice suits the role but he doesn't sing well, high notes become clear and strained because they're not properly supported, so they lack squillo. No comment about libretto changes...
I have heard him live and he has squillo to burn (Pinky at the Met) but this is so poorly recorded I can see why you would think that.
Sing so hard, and tends to go slightly flat, but with such a fast vibrato....well, a broken clock is right twice a day. It's a bit intrusive, but should calm down in his 40s. Overall very nice.
There's nothing 'broken' about this voice.....
Do you have another voice in mind that you prefer over his? I’m genuinely curious to hear what you prefer.