This was brilliant! And I love the historical setting too. No need to compare them harshly. This performance has it's own twist and allure, I think the amount of people on stage gives an intense dramatic feeling. Elina was amazing as she always is, and brings such sexiness to Carmen.
I will always prefer opera in it’s original style and historical setting / context. That being said, I find this particular modern adaptation to be intriguing, interesting, and well done. (The finale of this adaptation is absolutely incredible, I recommend giving it a watch!)
Очень понравилось, больше чем другие певицы. Очень естественно и сильно, и голос превосходный и свободный, без передергивания. Одно из самых лучших исполнений Переслушала несколько раз. Потрясающая драматическая игра, без излишеств и очень точно, при этом свободное полетное пение.
Don't forget she is from Latvia and has blonde hair of her own. But Carmen is all about sexual power and the Met version from 2010 does it in spades! ruclips.net/video/8GD63RuQduc/видео.html
And... What a man!... She's gorgeous and, most of all, she takes breath so lightly, going with the rythm, that we can't hear any effort, in each word of lyrics and in the whole music!... Superbe, the best live version❣️
This is the best staging of Carmen I have ever seen. I know the opera v well & have seen the greatest mezzos sing it, but always in the standard mise en scéne. This is so brilliant, so dramatic, colourful & faithful to Bizet, I feel I now understand his perfect opera better than ever! 🌹😍
Little girl, she is the furthest from "Butch" that a female can get and "NO" she does not top them, she entrances them with her true feminine wiles!! She's merely exerting the natural power that all real women used to know how to command! Take lots of notes from her performance,, maybe you'll grow up to be a "real woman", instead of the "controlling feminist harpy" it appears you now want to be!
Oh, dear lord, not another one of these postmodern relativistic nightmares. Elina is the perfect Carmen, but this eyesore of a set needs a dagger through its heart.
Oh, dear lord, not another one of these keyboard warriors who watched a five minute snippet of an opera on RUclips and think they know everything about the entire production based on it...
@@peaceblossom8 Hmm, let's see...the director of this production was Calixto Bieito, the set designer was Alfons Flores, and the conductors for the March to July 2017 run at Opéra national de Paris were Mark Elder , Bertrand De Billy, and Giacomo Sagripanti. A full presentation of Carmen under this team's direction, complete with that oh-so-beloved phone booth, is available at ruclips.net/video/WM2hdW319dQ/видео.html . But, yeah, peaceblossom8, I know what you mean...
@@kiomarv Thanks for the link. Might well watch the entire thing. I'm just honestly annoyed by people who verbally shit over productions they don't like. Everyone is entitled to their views and to their own taste, but I simply don't see the need for such harsh language. People have put thought and love and labour into this, and then others take a look and decide to trample all over it, very often before even trying to understand what a stage director might have been trying to say with this. If you don't like a more modern production, that's perfectly fine, but why not simply go and find a more traditional one? It should not be difficult at all seeing that Carmen is one of the most performed operas in the entire world.
Elina Garanca is at the present time not only the best Carmen but one of the best mezzo of our time. She was spectacular as Eboli last year in Paris. Looking forward to hear her Amneris next year.
Dzięki za taką pieśń i WSPANIAŁE WYKONANIE dla ŚWIATA to jest bardzoładna i przyjazna dla ludzi emocja oraz spokojnego dnia bez problemu w interesie Polski i Europy spasiba spasiba dla ludzi senk JU Tha a n k y O v danke
It is difficult not to become completely transfixed by this woman, one of the greatest, opera, especially at this level can certainly wash the eyes and heart, though I would have preferred a more traditional setting..
Who is the stage director? FINALLY a "modernized" production which makes sense, especially in the little details - for which Garanca is of course absolutely perfect, not to mention her divine singing technique!
@Sevinj Huseyn - I liked the Met production a lot too. It did makes sense, the words of the libretto still made sense, yet it was interesting and had some great acting. Richard Eyre respected the words of the libretto. I'd not say Met's is the only production that makes sense, old productions before the current "regietheatre" made sense (although some of them could use better acting like in the Met's production), ROH production makes sense even if it makes Carmen look like a whore, but it's a matter of interpretation. The vast majority of contemporary productions don't make sense, they just seem to serve to stroke the ego of the director and to shock.
You're the kind of clown that wants Shakespeare done with a Brooklyn accent, so you can feel goodaboutit, NO thinking or imagination of the historic or cultural setting needed!
@@EarlT357 I think there's some kind of misunderstanding here. Everything is relative - I dislike most contemporary productions, but this one seemed to me COMPARATIVELY tolerable. I don't know the Met's production so I can't discuss it, but I know "Carmen" very well and have composed two operas of my own. I know for instance that the premiere of "Carmen" was just four years after the brutal suppression of the Paris Commune by force of arms, and that this must be the actual background for the "Liberté!" chorus at the end of Act 2. How many people in the audience of "Carmen" know this?
IT IS interesting when u c a 'modern' version set & style when the music is opera I almost dont notice i never liked it as a rule & the uniforms & older dresses costumes make the period piece come alive but damn I LOVE THE MUSIC SO MUCH I CAN LIVE WITH IT
y tan absurda; se ha puesto de moda prostituir lo clásico en pos de una seudomodernidad de mierda que artísticamente no vale un pimiento… Pero si lo dices en voz alta, saldrán todos los zurdos pijoprogres de mierda afirmando que eres un ignorante.
Her voice is amazing. I just don’t understand this obsession of lyrical theatres with modernising the show. Opera is a traditional genre by definition, and it’s highly unlikely that it will attract more fans if it puts on some fake modern clothes. Its core essence is traditional, opera is traditional to the bone, and that’s why the overwhelming majority of its fans love it. If you don’t like opera, I find it hard to believe that you will go and see Carmen, Il trovatore or Traviata because the stage looks modern and the characters have tattoos (btw I have tattoos myself, so nothing against them).
I wouldn't say the purpose is to attract more viewers (though that may also be part of it perhaps) but just due to the constant need to reinvent and put your own original stamp on the production. It's a way to make this version their own. Every production is certainly different and there are thousand directorial choices even with a traditional setting, but this one will stand out more in memory as being unique. And by setting the story in modern times you are saying that it is essentially timeless. This production makes you think of the Carmen you might have met in your real life, perhaps the person crossing the street just now. Personally I find these type of settings intriguing when done well. It's a new perspective on the story and the characters. Sometimes it's funny when there's a mismatch with the lyrics (such as a character singing a whole aria about taking revenge with his sword while he's holding a gun), but it's opera, we have to suspend our disbelief. So no, I wouldn't see the show just because they have tattoos, but the characters having tattoos will catch my interest a little more than the classical production because I'd wonder why exactly the director made that choice, what does that say about how he views the characters, and what else will he changing to bring his vision to life. The beauty of opera is that we can always have our beloved classical versions to go back to, and there's always room for new ones and for experimenting.
The Met production will always be the Carmen of a lifetime! But I do love Elina’s talents enough to enjoy this version too, especially the final scene.
Bonita obra Lourdes, lo que no tengo claro es si es esta o Carmen la se rueda en la fabrica de tabaco de Sevilla . no lo tengo muy claro pero las dos son dos piezas muy buenas. Gracias por subirla , he disfrutado de lo lindo. Buenos dia que empiezo el dia con buen pie.
She does the role of rough working class girl, Carmen, on the job at the cigarette factory, with all those men she gets quickly bored with very well. Carmen is a very dominant female character, so itctakes a strong mezzo soprano voice like hers, to carry off this role well. She has a strong, dominant female voice that doesn't soundctoobpretty and feminine, as Carmen was a pretty rough, tough, working class chick. But, despite its power, her strong lower mezzo soprano voice sounds beautiful. I lije her rendition of Habanera.Very realistic, authentic sounding and good acting, too.
I like the modern adaptaion of the scenery, acting etc. Wgen I saw a blonde Carmen, I thought it wouldn't work. But having a dark haired Carmen, just becausecshe is a Latin type is just a stereotype, as some Latin women are blondes, not all sultry brunettes with flashing dark eyes and olive skin.
Carmen is also meant for vulgarity. It talks about sex, murder, jealousy, betrayal, infidelity, the so-called 'femme fatale'. It was considered vulgar and very offensive in 1875. In fact, even by today's standard, some scene might still be considered obscene or offensive (e.g. Michaëlla got sexual harassed by the whole legion of soldiers in the first scene). Many family-friendly versions tone down or censor many small details (yes, to make it more family-friendly). I do prefer this modern version as they did not censor anything. It gives more depth to Carmen character, making her more human rather than just being a "beautiful seducer".
In September 2022 I had the great pleasure of hearing/seeing this production at the Vienna OPER. Unfortunately, Calixto Bieito didn't do anything good with his NEW production. Nevertheless, the music is unique.
Menuda diferencia con el montaje del MET, pero Elina está bastante a la altura de las circunstancias y parece que se mete en el papel de esta Carmen anacrónica con gran salero pese a lo atroz y surrealista de la puesta en escena. Al menos la cabina telefónica es auténticamente española, ahí han estado acertados.
Can you give me the full piece of Carmen? Please I'm looking for this piece of the 16 july 2017 with Elina Garanca in Paris, I can't find it!! Some help? Please 😅
Ⅰ got excited by unprecedented performance. Surrealism！Ⅰ have never seen such a opera Carmen．She is the sexiest Ⅰ have ever seen. This combination is experimental and interesting, I think . No bad, off course. They are good at acting. But Ⅰ would not like to see this stage with my daughter and son. When seeing ,one is better than three.
When it comes to a contemporary retelling of Carmen, I'd sooner watch Carmen Jones. I've never really liked the idea of giving this opera a modern setting, though. Carmen is a story best told in its original time period, in my opinion. At least Carmen Jones parallels the prejudice against Romani Gypsies in nineteenth-century Spain with the issue of racism in the twentieth-century United States.
Agreed. At least Carmen Jones changed the title and had the storyline that made sense. Contemporary productions like this one make no sense whatsoever and make the mockery of the libretto.
There are way too many people on the stage, to serve any dramatic purpose. If this opera should be modernized in any way, it should be by narrowing the number of people to just a handful, so we can focus on the plot. This is a mess.
I agree. This is far too crowded. It's not very attractive in a production like this, and I'll bet it wasn't very comfortable for the performers. That stage was probably an oven, with so many people present at once.
...you realize that those "too many people" are the choir? The choir has a part to sing in this number. As intended by the composer. And "Carmen" requires a big choir because it has a big orchestra. You can't just get rid of half the choir, it would sound all wrong. All those people need to be there in order for the music to sound right :D
@@logandowns1288 it's a completely normal amount of people. It's the choir, all of them are needed in this scene. They're professionals and used to being this close to another... There's really nothing special about it.
peaceblossom8 I’ve been part of a chorus before, and I do understand that Carmen is traditionally handled with a moderately large chorus, but this is a contemporary adaptation of Carmen, and I personally think the stage is being overcrowded for what they’re attempting with this production. It’s just my opinion.
What can we say? Whatever the setting, the woman delivers and she keep us loving and listening to Biizet.
NObody sings it better than Elina Garanca! She is the finest, the best, the crème de la crème!
This was brilliant! And I love the historical setting too. No need to compare them harshly. This performance has it's own twist and allure, I think the amount of people on stage gives an intense dramatic feeling. Elina was amazing as she always is, and brings such sexiness to Carmen.
She just dominates the stage.
And she can ACT. Amazing voice and a sense of humor!
She is the stage.
Una de las mezzo más grandes de ahora y de siempre.
Love Elina's voice !!! That sensual timbre I'm beginning to value it even more.
I will always prefer opera in it’s original style and historical setting / context. That being said, I find this particular modern adaptation to be intriguing, interesting, and well done. (The finale of this adaptation is absolutely incredible, I recommend giving it a watch!)
Шедевр! Очень тонкая драматическая игра, без пошлятины и ПРИ ЭТОМ! ПОТРЯСАЮЩЕ СВОБОДНОЕ И НЕ НАПРЯЖЁННОЕ ПЕНИЕ!
Очень понравилось, больше чем другие певицы. Очень естественно и сильно, и голос превосходный и свободный, без передергивания. Одно из самых лучших исполнений Переслушала несколько раз.
Потрясающая драматическая игра, без излишеств и очень точно, при этом свободное полетное пение.
only Elina could've pulled out this adaptation of Carmen. literally all the versions she's done are *chef's kiss*
Wait, is this the same woman as in the traditional métropolitain opera version where she has brown hair?
Yes :)
Oui)
Eeeyep.
I don't object to a blond Carmen, but that telephone booth, now...
Don't forget she is from Latvia and has blonde hair of her own. But Carmen is all about sexual power and the Met version from 2010 does it in spades! ruclips.net/video/8GD63RuQduc/видео.html
@@reymohammed7040 You are right ! Imagine if they will paint again the dress of Monna Lisa!
What an astonishing powerful voice!? Thank you.
Великолепная Элина, шикарная постановка, Аланья выше всяческих похвал!!! Браво!!!
It astonishes me how she can keep a note going, keep up with the lyrics and write with lipstick on a man's chest at the same time
Indeed - she seems to be a good example for multi-tasking. ;-)
elina's just that iconic
Practice, practice, practice!
I love her as Carmen. See her and you understand the power Carmen had, and you like it.
And... What a man!...
She's gorgeous and, most of all, she takes breath so lightly, going with the rythm, that we can't hear any effort, in each word of lyrics and in the whole music!...
Superbe, the best live version❣️
ELINA is a very sensual blonde CARMEN. And her singing is just gorgeous.
She' a very sensual Carmen. Period. Costumers could put her in a potato sack and dye her hair neon green and she'd still nail it.
Oh what a gorgeous tease she is , no matter if blonde or brunette , she is great.
She's the best mezzo of our time.
this is surprisingly good when I've watched real setting version(2010 at MET) for
too many times…more clips pls
Elina IDOLA, GENIA UN GRAN SALUDO DESDE ARGENTINA!!!!!!!
I love the way she plays with us,
making it fun to be teased..!
This is the best staging of Carmen I have ever seen. I know the opera v well & have seen the greatest mezzos sing it, but always in the standard mise en scéne. This is so brilliant, so dramatic, colourful & faithful to Bizet, I feel I now understand his perfect opera better than ever! 🌹😍
Me encanta como acaba y alguien grita “Agua!”
I love how Elīna is the butch next to these police officers. She tops them all - literally.
Little girl, she is the furthest from "Butch" that a female can get and "NO" she does not top them, she entrances them with her true feminine wiles!! She's merely exerting the natural power that all real women used to know how to command!
Take lots of notes from her performance,, maybe you'll grow up to be a "real woman", instead of the "controlling feminist harpy" it appears you now want to be!
Extrordinaire sublime Merci 👏🇨🇵
Oh, dear lord, not another one of these postmodern relativistic nightmares. Elina is the perfect Carmen, but this eyesore of a set needs a dagger through its heart.
Tariq Marshall multitaskingly gifted 💝
Make opera great again.
Oh, dear lord, not another one of these keyboard warriors who watched a five minute snippet of an opera on RUclips and think they know everything about the entire production based on it...
@@peaceblossom8 Hmm, let's see...the director of this production was Calixto Bieito, the set designer was Alfons Flores, and the conductors for the March to July 2017 run at Opéra national de Paris were Mark Elder
, Bertrand De Billy, and Giacomo Sagripanti. A full presentation of Carmen under this team's direction, complete with that oh-so-beloved phone booth, is available at ruclips.net/video/WM2hdW319dQ/видео.html . But, yeah, peaceblossom8, I know what you mean...
@@kiomarv Thanks for the link. Might well watch the entire thing.
I'm just honestly annoyed by people who verbally shit over productions they don't like. Everyone is entitled to their views and to their own taste, but I simply don't see the need for such harsh language. People have put thought and love and labour into this, and then others take a look and decide to trample all over it, very often before even trying to understand what a stage director might have been trying to say with this. If you don't like a more modern production, that's perfectly fine, but why not simply go and find a more traditional one? It should not be difficult at all seeing that Carmen is one of the most performed operas in the entire world.
Garanca sempre bravissima, molto sensuale, bellissima voce.
Elina Garanca is at the present time not only the best Carmen but one of the best mezzo of our time. She was spectacular as Eboli last year in Paris. Looking forward to hear her Amneris next year.
Dzięki za taką pieśń i WSPANIAŁE WYKONANIE dla ŚWIATA to jest bardzoładna i przyjazna dla ludzi emocja oraz spokojnego dnia bez problemu w interesie Polski i Europy spasiba spasiba dla ludzi senk JU Tha a n k y O v danke
This is like Hollywood productions. Congratulations to Diva Elina and all singers, stage persons and directors
Director? Directors need to be locked up.
It is difficult not to become completely transfixed by this woman, one of the greatest, opera, especially at this level can certainly wash the eyes and heart, though I would have preferred a more traditional setting..
Whatever outfit suits a goddess. Magnificent Elina!
MORE DeCOLLETAGE!
Best Carmen ever!❤❤❤
Scene or no scene, nothing and no one beats Elina.
Peut êêêêêêtre jamaiiiis, peut êêêêtre demaiiiin! 😍😍
I LOVE THIS SONG
This is just phenomenal.
Great performance Bravo Elina !!!!!!!
Who is the stage director? FINALLY a "modernized" production which makes sense, especially in the little details - for which Garanca is of course absolutely perfect, not to mention her divine singing technique!
No, the Met production made sense in spite of having being updated. This one is just idiotic.
Met production was marvellous, brilliant! Only it makes sense, nothing else @@jewelmarkess
@Sevinj Huseyn - I liked the Met production a lot too. It did makes sense, the words of the libretto still made sense, yet it was interesting and had some great acting. Richard Eyre respected the words of the libretto. I'd not say Met's is the only production that makes sense, old productions before the current "regietheatre" made sense (although some of them could use better acting like in the Met's production), ROH production makes sense even if it makes Carmen look like a whore, but it's a matter of interpretation. The vast majority of contemporary productions don't make sense, they just seem to serve to stroke the ego of the director and to shock.
You're the kind of clown that wants Shakespeare done with a Brooklyn accent, so you can feel goodaboutit, NO thinking or imagination of the historic or cultural setting needed!
@@EarlT357 I think there's some kind of misunderstanding here. Everything is relative - I dislike most contemporary productions, but this one seemed to me COMPARATIVELY tolerable. I don't know the Met's production so I can't discuss it, but I know "Carmen" very well and have composed two operas of my own. I know for instance that the premiere of "Carmen" was just four years after the brutal suppression of the Paris Commune by force of arms, and that this must be the actual background for the "Liberté!" chorus at the end of Act 2. How many people in the audience of "Carmen" know this?
Es extraordinaria !
Supeeer ! Bravooo ! Thanks !
Com’è brava! Potrebbe cantare anche l’elenco telefonico! Sarebbe straordinario anche quello!
I enjoyed this❤
IT IS interesting when u c a 'modern' version set & style when the music is opera I almost dont notice i never liked it as a rule & the uniforms & older dresses costumes make the period piece come alive but damn I LOVE THE MUSIC SO MUCH I CAN LIVE WITH IT
Cantante extraordinaria en una escena absurda.
y tan absurda; se ha puesto de moda prostituir lo clásico en pos de una seudomodernidad de mierda que artísticamente no vale un pimiento… Pero si lo dices en voz alta, saldrán todos los zurdos pijoprogres de mierda afirmando que eres un ignorante.
It was a very Northern European Carmen, but an excellent Carmen.
Wow. Just wow. She is amazing.
Brava! I like this version, so sensual😍😍😍
Her voice is amazing. I just don’t understand this obsession of lyrical theatres with modernising the show. Opera is a traditional genre by definition, and it’s highly unlikely that it will attract more fans if it puts on some fake modern clothes. Its core essence is traditional, opera is traditional to the bone, and that’s why the overwhelming majority of its fans love it. If you don’t like opera, I find it hard to believe that you will go and see Carmen, Il trovatore or Traviata because the stage looks modern and the characters have tattoos (btw I have tattoos myself, so nothing against them).
If it works in the (public domain) story, someone will try it.
I wouldn't say the purpose is to attract more viewers (though that may also be part of it perhaps) but just due to the constant need to reinvent and put your own original stamp on the production. It's a way to make this version their own. Every production is certainly different and there are thousand directorial choices even with a traditional setting, but this one will stand out more in memory as being unique. And by setting the story in modern times you are saying that it is essentially timeless. This production makes you think of the Carmen you might have met in your real life, perhaps the person crossing the street just now. Personally I find these type of settings intriguing when done well. It's a new perspective on the story and the characters.
Sometimes it's funny when there's a mismatch with the lyrics (such as a character singing a whole aria about taking revenge with his sword while he's holding a gun), but it's opera, we have to suspend our disbelief. So no, I wouldn't see the show just because they have tattoos, but the characters having tattoos will catch my interest a little more than the classical production because I'd wonder why exactly the director made that choice, what does that say about how he views the characters, and what else will he changing to bring his vision to life. The beauty of opera is that we can always have our beloved classical versions to go back to, and there's always room for new ones and for experimenting.
Élima garance c’est la meilleure
Elina , tenes que venir al Colon 🙏🙏🙏 sos The Voice!!!!
Muy buena cantante y actriz. Le pone picante a la escena. Mi Carmen favorita.
she is , it what you want 🌹
I dont know... when it comes to my opinion.. i prefer the real settting of an opera and not a modern style..
So I do. elina is beautiful and great as always, but the ambiose, the feelings, the atmospehere, there isn´t because of the stupit scene.
I agree. I could live with the Met production in spite of updating, but this one is just ridiculous.
filipp721 me too but her voice is so beautiful!
True, also I think the song, acting and etc just fits better at the time it was set originally rather than the present.
The Met production will always be the Carmen of a lifetime! But I do love Elina’s talents enough to enjoy this version too, especially the final scene.
Lovable
Bonita obra Lourdes, lo que no tengo claro es si es esta o Carmen la se rueda en la fabrica de tabaco de Sevilla . no lo tengo muy claro pero las dos son dos piezas muy buenas. Gracias por subirla , he disfrutado de lo lindo. Buenos dia que empiezo el dia con buen pie.
классическая постановка в ее исполнении мне больше нравится, но и эта бесподобна!
Did you have the link to watch the full opera please
😳 talk about playing with fire
She does the role of rough working class girl, Carmen, on the job at the cigarette factory, with all those men she gets quickly bored with very well. Carmen is a very dominant female character, so itctakes a strong mezzo soprano voice like hers, to carry off this role well. She has a strong, dominant female voice that doesn't soundctoobpretty and feminine, as Carmen was a pretty rough, tough, working class chick. But, despite its power, her strong lower mezzo soprano voice sounds beautiful. I lije her rendition of Habanera.Very realistic, authentic sounding and good acting, too.
para escuchar con los ojos cerrados
Судя по одежде постановка модернисткая, но в целом хорошо. Гаранча есть Гаранча. Умеет.
A beleza existe sim!
Very Nice
I like the modern adaptaion of the scenery, acting etc. Wgen I saw a blonde Carmen, I thought it wouldn't work. But having a dark haired Carmen, just becausecshe is a Latin type is just a stereotype, as some Latin women are blondes, not all sultry brunettes with flashing dark eyes and olive skin.
Carmen is also meant for vulgarity. It talks about sex, murder, jealousy, betrayal, infidelity, the so-called 'femme fatale'. It was considered vulgar and very offensive in 1875. In fact, even by today's standard, some scene might still be considered obscene or offensive (e.g. Michaëlla got sexual harassed by the whole legion of soldiers in the first scene). Many family-friendly versions tone down or censor many small details (yes, to make it more family-friendly). I do prefer this modern version as they did not censor anything. It gives more depth to Carmen character, making her more human rather than just being a "beautiful seducer".
Un'ottima recitazione, oltre all'abilità canora
WOW
Elina es maravillosa!!! La puesta en escena espantosa.
Постановка,действительно ужасна.
In September 2022 I had the great pleasure of hearing/seeing this production at the Vienna OPER.
Unfortunately, Calixto Bieito didn't do anything good with his NEW production.
Nevertheless, the music is unique.
Menuda diferencia con el montaje del MET, pero Elina está bastante a la altura de las circunstancias y parece que se mete en el papel de esta Carmen anacrónica con gran salero pese a lo atroz y surrealista de la puesta en escena.
Al menos la cabina telefónica es auténticamente española, ahí han estado acertados.
Essa de passar batom sem olhar no espelho ela copiou de mim. Meu costume, passo Baton andando na rua.
Extraordinary. Brava!
Elina just does Carmen, SO right
Yes, but this version is terrible compared to the original.
Awesome😮
❤❤❤❤❤❤❤
Well done, well done. Applause. The sunglasses make it so contemporary. lol.
The rial Carmen
come attrice ha migliorata !
brava !
Can you give me the full piece of Carmen? Please I'm looking for this piece of the 16 july 2017 with Elina Garanca in Paris, I can't find it!! Some help? Please 😅
@@laurenemouget9440 its gone 😭
Ⅰ got excited by unprecedented performance. Surrealism！Ⅰ have never seen such a opera Carmen．She is the sexiest Ⅰ have ever seen. This combination is experimental and interesting, I think . No bad, off course. They are good at acting. But Ⅰ would not like to see this stage with my daughter and son. When seeing ,one is better than three.
Bravo
is this Carmen ?
Elina is a Fi name. She looks Fi. Good for her.👍🏻
Maria Callas się chowa ...choć uwielbiam ją :-)
CARMEN, EMPODERADA.
Ella excelente muy sensual y gran voz, pero en realidad la mejor Carmen es Agnes blast para mi gusto
Muchas gracias por el video, tendrás por casualidad algún link para descargar completa esta Carmen? Saludos.
Tikilin2010 Si! www.france.tv/spectacles-et-culture/theatre-danse-opera/754293-carmen.html 😃
@@mckavitt ya lo quitaron 😭
please tell me who is director?
Amazing!!! Congrats for video.
❤
Thanks, but not thanks! I prefer the original setting.
Delicious!
Um show de sexualidade, bom gosto, charme e arte.
Tf when Bize was alive phones weren't even invented. Even if they were, who was she talking to?
When it comes to a contemporary retelling of Carmen, I'd sooner watch Carmen Jones. I've never really liked the idea of giving this opera a modern setting, though. Carmen is a story best told in its original time period, in my opinion. At least Carmen Jones parallels the prejudice against Romani Gypsies in nineteenth-century Spain with the issue of racism in the twentieth-century United States.
Agreed. At least Carmen Jones changed the title and had the storyline that made sense. Contemporary productions like this one make no sense whatsoever and make the mockery of the libretto.
Oooooh. Sounds interesting, thanks for the recommendation!
X x ,senden das stück ema von chabrier emanuel
Très manifique
There are way too many people on the stage, to serve any dramatic purpose.
If this opera should be modernized in any way, it should be by narrowing the number of people to just a handful, so we can focus on the plot.
This is a mess.
I agree. This is far too crowded. It's not very attractive in a production like this, and I'll bet it wasn't very comfortable for the performers. That stage was probably an oven, with so many people present at once.
...you realize that those "too many people" are the choir? The choir has a part to sing in this number. As intended by the composer. And "Carmen" requires a big choir because it has a big orchestra. You can't just get rid of half the choir, it would sound all wrong. All those people need to be there in order for the music to sound right :D
@@logandowns1288 it's a completely normal amount of people. It's the choir, all of them are needed in this scene. They're professionals and used to being this close to another... There's really nothing special about it.
peaceblossom8 I’ve been part of a chorus before, and I do understand that Carmen is traditionally handled with a moderately large chorus, but this is a contemporary adaptation of Carmen, and I personally think the stage is being overcrowded for what they’re attempting with this production. It’s just my opinion.
@@logandowns1288 But what else could they have done? They can't shrink the chorus.
👍🏿Completly different, however, I will stick to............ Grace Bumbry's............Aesthetics.🇻🇨✍🏿
The vocals are great but the portrayal of the character is nothing compared to Julia Migenes. What's with the phone??
👏👏👏👏👏👏👏👏👏👏👏👏👏
Le voilá!