I saw the same produciton in Vienna Staats Oper in 2023. Very impressive stage, however for us Japanese people, costume of Goro and Yamadori are quite strange from the period of the story. If this is ok, Sharpress can appear with Western Cowboy costume. The stage is wonderful except that point.
So, that goes for a puppet child not being of a Japanese people? Audiences, no matter what culture can not manage to GRASP the landscape of the theatre is just production of a proscenium that does frame AN ART FORM. A Japanese people do not speak Italian in Japan? A Japanese people do not compose music of an Italian verismo, Pucinni? Those floating puppet handlers are not of an image of a Japanese people. The constant point out this in every opera to make a point has become an audience grudge of kermugeons, WHO HAVE FORGOTTEN, this is an OPERA that means WORK! GEEES!!!
Sanding ovation du public américain, pour une immense A. Grigorian, soprano enfin reconnue sur la plus grande scène lyrique du monde ! Et que dire de la voix superbe de E. DeShong, grandiose Susuki ! Toutes les voix sont à l'unisson. La mise en scène de A. Minghella, déjà vue par la passé au Met, est tout simplement sublime (ouverture du 3° acte à vous tirer des larmes) avec ses "marionnettes" plus vraies que nature. Une représentation qui fera date à n'en pas douter.
This MET production was the real deal. The Japanese sense of Colour and space sensation, the protagonist's growth and human deepening from the first act to the second act, This MET production beautifully expressed the protagonist's deep feelings as she takes her own life with the delicate heart of a Japanese butterfly, but at the same time with her unyielding human pride and will in her heart. It was also wonderful how the children were portrayed with Japanese marionettes.
Asmik Grigorian is one of the best sopranos on stage nowadays. I like her very very much much but Puccini requests not only a beautiful voice and technical skill (she has a lot) but each word must be chiseled. No surprise that she sings an excellent Butterfly but Callas/DeLosangeles/Caballé/Scotto/Freni/..../Siri are on a different level. I don't understand why La Scala insists on relying on Netrebko (long time ago a great singer!). Tenor has beautiful high register but is just a good Pinkerton singing always with full voice (no colors). Director not remarkable. Stage wonderful. I wander what Butterfly with Asmik and Chailly (useless to name Karajan or Abbado) or similar directors! Hopefully in the future.
Yikes, the puppet. I saw the opera at the Zürich opera house last week, and they used a young boy. It worked perfectly. I hope it wasn't a stupid American law that prohibits the presence of children on the operatic stage that led to the use of the ludicrous doll.
Sorry but that puppet just kills it. I know many opera houses use it but have a real child to play Sorrow even if he has to be 7. There is the most heartbreaking sadness when Butterfly interacts with her son and you just cannot get that with a marionette. I tried watching it throughout with Opolais and Alagna but that puppet is just wrong. Every Butterfly production I watched tops this. Not a great Met production. For once the vast stage usually so impressive just dwarfs the singers and the set is lazy.
Yes, I have seen this production at least 10 times over the years. The first time the puppet is interesting, after that it's just annoying and I agree completely that the Butterfly can't interact with as strong an emotional connection as with a real child. Asmik does her considerable best here and is vocally very fine. Tetelman was the best Pinky I've ever seen or heard, in the house his voice has such squillo it was viscerally exciting. Suzuki was also superb. I go for the singing of course. The conducting? Adequate and no more.
Innocence is such a gem to be kept away from the vile. You made me cry so hard.
La voz de Asmik es lo más bello que he escuchado en la Tierra. Estoy tranquilo porque ya escuche a un ángel!!!!
I saw the same produciton in Vienna Staats Oper in 2023. Very impressive stage, however for us Japanese people, costume of Goro and Yamadori are quite strange from the period of the story. If this is ok, Sharpress can appear with Western Cowboy costume. The stage is wonderful except that point.
Yeah even as a American, it doesn't look like they did any research on Japanese culture
So, that goes for a puppet child not being of a Japanese people? Audiences, no matter what culture can not manage to GRASP the landscape of the theatre is just production of a proscenium that does frame AN ART FORM. A Japanese people do not speak Italian in Japan? A Japanese people do not compose music of an Italian verismo, Pucinni? Those floating puppet handlers are not of an image of a Japanese people. The constant point out this in every opera to make a point has become an audience grudge of kermugeons, WHO HAVE FORGOTTEN, this is an OPERA that means WORK! GEEES!!!
Spettacolo bellissimo,grande fascino!!!Protagonisti fantastici!!!!
Sanding ovation du public américain, pour une immense A. Grigorian, soprano enfin reconnue sur la plus grande scène lyrique du monde ! Et que dire de la voix superbe de E. DeShong, grandiose Susuki ! Toutes les voix sont à l'unisson. La mise en scène de A. Minghella, déjà vue par la passé au Met, est tout simplement sublime (ouverture du 3° acte à vous tirer des larmes) avec ses "marionnettes" plus vraies que nature. Une représentation qui fera date à n'en pas douter.
Saw it on the 11th of May this year, it was wonderful!!!
Asmik canta con mucha sensibilidad y maestría vocal.Emociona..Espectáculo bello visualmente.Cantantes de alto nivel.
This MET production was the real deal. The Japanese sense of Colour and space sensation, the protagonist's growth and human deepening from the first act to the second act,
This MET production beautifully expressed the protagonist's deep feelings as she takes her own life with the delicate heart of a Japanese butterfly, but at the same time with her unyielding human pride and will in her heart. It was also wonderful how the children were portrayed with Japanese marionettes.
Outstanding. Bravi. Asmik, you’re wonderful!
Spettacolo meraviglioso, grande Asmik, Jonathan en tutto il cast, grazie per la condivisione ♥
This doll is killing everything
The opera performances were magnificent!
this puppet thing is a bit bizarre but otherwise, love it.
Now i've found my best butterfly. Love you Asmik. Thanks for sharing.
Do you have any background about past singers?
51:24: Titanic Reference
2:33:21: I thought it was Bunraku Puppeteer...
2:32:34:
2:33:36-2:36:40
2:35:50
Thanks to share it ! Beautiful !!
the jacket and cap look right for the time period like 1904 but the shoulder straps are not
Anthony Roth Costanzo, who was hosting the main event, was magnificent from the other opera performance.
Akhnaten.
Asmik Grigorian is one of the best sopranos on stage nowadays. I like her very very much much but Puccini requests not only a beautiful voice and technical skill (she has a lot) but each word must be chiseled. No surprise that she sings an excellent Butterfly but Callas/DeLosangeles/Caballé/Scotto/Freni/..../Siri are on a different level. I don't understand why La Scala insists on relying on Netrebko (long time ago a great singer!). Tenor has beautiful high register but is just a good Pinkerton singing always with full voice (no colors). Director not remarkable. Stage wonderful. I wander what Butterfly with Asmik and Chailly (useless to name Karajan or Abbado) or similar directors! Hopefully in the future.
Tutto perfetto e gradevolmente moderno.
Thank you very much.
Bravo Bravo wunderschön 🌺🌺🌺🌺🌺
Grazie
Magnificent!
차정철 반갑네요
48:14
55:04, 1:07:20, 2:04:26
Un Bel Di Vedremo: 1:15:07
Asmik GRANDIOSA!!!!!!!
1:37:57
Tutto bello!...ma l'obbrobrio del pupazzo 😊😊
1:54:30, 2:13:00
白無垢の帯は本来は同じ白色で統一されるけど、赤の帯を使っているのは日本の国旗をイメージさせる意図からなのかな。METの蝶々夫人は以前にも見たことがあるけど、蝶々さん役は何れも派手な外人というよりは、見た感じは大人しい日本人の雰囲気をどことなく併せ持った人を選ぶところは流石。今回のアスミック・グリゴリアンは歌唱、演技共に素晴らしく、とても美しい舞台に仕上がっているけど、子役は人形よりも普通に子供でいいと思うのと、幕の下り方は以前のMETの方が好きかな。
💓
Yikes, the puppet. I saw the opera at the Zürich opera house last week, and they used a young boy. It worked perfectly. I hope it wasn't a stupid American law that prohibits the presence of children on the operatic stage that led to the use of the ludicrous doll.
Bro, they got so many children in La Boheme
Sorry but that puppet just kills it. I know many opera houses use it but have a real child to play Sorrow even if he has to be 7. There is the most heartbreaking sadness when Butterfly interacts with her son and you just cannot get that with a marionette. I tried watching it throughout with Opolais and Alagna but that puppet is just wrong. Every Butterfly production I watched tops this. Not a great Met production. For once the vast stage usually so impressive just dwarfs the singers and the set is lazy.
Yes, I have seen this production at least 10 times over the years. The first time the puppet is interesting, after that it's just annoying and I agree completely that the Butterfly can't interact with as strong an emotional connection as with a real child. Asmik does her considerable best here and is vocally very fine. Tetelman was the best Pinky I've ever seen or heard, in the house his voice has such squillo it was viscerally exciting. Suzuki was also superb. I go for the singing of course. The conducting? Adequate and no more.
what a horrible tenor!
asmik belissima, grande!
Tenor con muchos problemas
Cringe as ever.
You are cringe