Werther - 'Air des lettres' aria (Joyce DiDonato, The Royal Opera)
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- Опубликовано: 19 сен 2019
- Benoît Jacquot’s production of Massenet’s tragic opera explores the conflict between duty and our most passionate desires. Joyce DiDonato (Charlotte) sings 'Werther! Qui m'aurait dit... Ces lettres!' (Letter Scene). Subscribe to our channel and find out more at www.roh.org.uk/tickets-and-ev...
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 and makes more romantic Goethe’s depiction of two passionate people who inadvertently cause each other pain. 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 Act III soliloquy 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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thank you Royal Opera for releasing this....
This was a wonderful production, and my favourite 'Werther'. I do wish ROH had made a DVD of it though.
What a beautiful voice.
Joyce Didonato ❤️
She looked so beautiful in that role!
Merci Joyce
Wonderful! 🙏
This is beautiful😍
Teşekkür ederiz Royal Opera..
Oddly enough, this was one of Brigitte Fassbaender's favourite roles, though she is possibly more remembered for he Oktavian and Count Orlovski.
In the french tradition her voice was too dark and heavy for this role
💜👏🏾😍
danke
145, último sistema, vocal
Where is the Charlotte by Sophie Koch? Best Charlotte of this decade.
First 😊
Spitzentöne zu hoch-Charlotte ist nicht ihr Ding!
So nasal and constricted.
dude forcaster what do you mean by “nasal?” Would you mind clarifying? I see a lot of comments from people about “nasal” singing, when I think the operatic community has conflicting definitions of what nasal means. Is it air coming through the sinuses as a result of the velopharyngeal port being open, or something else?
@@operacody12 Hi Cody, Although I am a professional musician (cello) with nearly 35 years under my belt. I'm afraid that I can not, nor would I try to expound on the technical aspects about singing, it simply is not in my wheelhouse. That being said, I do I have a very well developed pair of ears that have served me well and will point out that it is fairly easy to hear nasal and constricted singing, one just needs to really listen. To my ears JDD's voice is forced through her nose (or mask if you will) and sounds like it is under a great deal of tension (hence her constricted sound, especially in her upper range, and her rapid, hard-edged vibrato throughout) it is as if she is trying NOT to let her voice out into the room, the sound is brittle and thin and does not project (I know from close proximity). Listen to the high note at 3:17 , she sounds like she is being strangled or her voice is about to break!
dude forcaster this does help me understand what you mean! JDD is not my favorite singer in her current repertoire, and I do understand what you mean when you say it sounds like it’s being forced through the “mask.” I appreciate the clarification!
@@dudeforcaster8630 As one who has sung in several languages, and been taught diction in these languages, the pronunciation of many of these lyrics require a more nasal placement than the more open sounds of Italian and possibly more guttural sounds of German. Further complicating the sound is because uf the tessitura and where that lies in the voice producing the sounds.
@@mabbigeasyHer diction and pronunciation are not the problem nor is the tessitura , it is her vocal production. What follows is an excerpt from my previous comment. "To my ears JDD's voice is forced through her nose (or mask if you will) and sounds like it is under a great deal of tension (hence her constricted sound, especially in her upper range, and her rapid, hard-edged vibrato throughout) it is as if she is trying NOT to let her voice out into the room, the sound is brittle and thin and does not project (I know from close proximity). Listen to the high note at 3:17 , she sounds like she is being strangled or her voice is about to break!
". ETA: Listened to it again and it also should be noted that she is frequently out of tune and her voice has no resonance due to the readily apparent vocal problems.