Spettacolo raffinatissimo, una vera delizia per gli occhi e l'udito. La Turandot di Busoni meriterebbe di essere eseguita molto di più. Grazie anche per i sottotitoli.
Turandot: Kristine Ciesinski, soprano Kalaf: Milan Voldřich, tenor The Emperor Altoum: Norman Bailey bass-baritone Adelma: Alison Browner, mezzo soprano Barak, Kalaf's servant: Balazs Poka, baritone Truffaldino: Bruce Brewer, tenor Pantalone: Alan Cemore, bass Tartaglia: Phillip Guy-Bromley, bass The Queen of Samerkand: Malmfrid Sand, soprano Dancers: Julie Wong, Sarah Audsley Act 1 Scene 1: Kalaf comes upon the picture discarded by an earlier executed suitor, and determines to win Turandot. Scene 2: Emperor Altoum complains of Turandot's intransigence. Kalaf says he would rather die than fail to win Turandot. Turandot enters with her maid Adelma who recognises the Prince, but remains silent. Kalaf correctly answers the three riddles, and challenges Turandot to discover his name and parentage; if she does so, he will depart. Act 2 Scene 1: Slave girls dance to a wordless choral version of "Greensleeves". Turandot confesses her mixed feelings for the Prince. Adelma says she knows the Prince's name, and will tell Turandot if she can have her freedom; Turandot agrees. Scene 2: Turandot announces Kalaf's name to general consternation, and he makes ready to depart. But Turandot stops him, saying he has awakened her heart. The work closes with a final ensemble 'Was ist das alle Menschen bindet?' ("What is it that rules all men?") to which the reply is 'Die Liebe' ("Love").
Una bellísima ópera que para nada merece el segundo plano en el que ha quedado en relación con la obra homónima de Puccini. La versión me ha parecido visual y musicalmente excelente.
What a shame this opera is not staged more frequently - it makes a refreshing change from the more epic (also wonderful) version by Puccini. There is more humour and lightness of touch here, Busoni's Turandot being more human and the whole scale of everything more modest. Turandot's conversion to love - hinted at early on in the story - is perhaps more believable here than in the Puccini version.
Spettacolo raffinatissimo, una vera delizia per gli occhi e l'udito. La Turandot di Busoni meriterebbe di essere eseguita molto di più. Grazie anche per i sottotitoli.
Turandot: Kristine Ciesinski, soprano
Kalaf: Milan Voldřich, tenor
The Emperor Altoum: Norman Bailey bass-baritone
Adelma: Alison Browner, mezzo soprano
Barak, Kalaf's servant: Balazs Poka, baritone
Truffaldino: Bruce Brewer, tenor
Pantalone: Alan Cemore, bass
Tartaglia: Phillip Guy-Bromley, bass
The Queen of Samerkand: Malmfrid Sand, soprano
Dancers: Julie Wong, Sarah Audsley
Act 1
Scene 1:
Kalaf comes upon the picture discarded by an earlier executed suitor, and determines to win Turandot.
Scene 2:
Emperor Altoum complains of Turandot's intransigence. Kalaf says he would rather die than fail to win Turandot. Turandot enters with her maid Adelma who recognises the Prince, but remains silent. Kalaf correctly answers the three riddles, and challenges Turandot to discover his name and parentage; if she does so, he will depart.
Act 2
Scene 1:
Slave girls dance to a wordless choral version of "Greensleeves". Turandot confesses her mixed feelings for the Prince. Adelma says she knows the Prince's name, and will tell Turandot if she can have her freedom; Turandot agrees.
Scene 2:
Turandot announces Kalaf's name to general consternation, and he makes ready to depart. But Turandot stops him, saying he has awakened her heart. The work closes with a final ensemble 'Was ist das alle Menschen bindet?' ("What is it that rules all men?") to which the reply is 'Die Liebe' ("Love").
Una bellísima ópera que para nada merece el segundo plano en el que ha quedado en relación con la obra homónima de Puccini. La versión me ha parecido visual y musicalmente excelente.
What a shame this opera is not staged more frequently - it makes a refreshing change from the more epic (also wonderful) version by Puccini. There is more humour and lightness of touch here, Busoni's Turandot being more human and the whole scale of everything more modest. Turandot's conversion to love - hinted at early on in the story - is perhaps more believable here than in the Puccini version.
perché non tacciono i commenti quando c'è la musica?
58:00