Una excelente versión, especialmente los dos protagonistas. Roberto Alagna ha estado magnifico en un papel dramático que le va a su voz. Y Bearice Uria-Monzon, aunque no sea una voz de primerísimo orden, aún ha tenido más mérito por el dramatismo que ha sabido imprimirle a su interpretación, tanto en el canto como en la actuación. ¡Ha estado genial! El director musical, Georges Prêtre, creo que ha conseguido que la orquesta expresara en todo momento el sentimiento y la tragedia que la obra requiere en algunos fragmentos. Y la dirección de escena ha sido original y artística, sin estridencias ni rarezas fuera de tono. Repito: ¡una magnífica versión!
.meravigliosa e sorprendente . A cominciare dalla scenografia . L'Autore ha riversato la grecità mediteraanea in termini contemporanei da meritare mille applausi per la sua creatività. Commplimenti .
This entire performance rates up there at the very top of the tree ! Alagna is magnificently wonderful and Beatrice is sublime, stunningly beautiful and heartbrekingly perfect in this role ! I have 'shared' it around the world...literally and hope that at least a few of my friends take an hour or so to relish it's perfection !
El postre del día ! Y que postre ! Bellas voces, escenografía interesante, gran orquesta. Tan creíble el sufrimiento de Santa y no digamos el descaro y coquetería de Lola. Mama Lucia, soberbia !. Que Opera ! Gracias por presentar estas obras.
Among the new crop of tenors it seems that Alagna is rising to the lead position. He is more than bilingual. His technique is excellent and he embodied the old adage, "Chi sa ben parlare, sa ben cantare." Among tenors, his diction is superb and quite understandable. He is still young. Only Pavarotti had better diction.
Pavarotti had some virtues and many flaws as singer. His legato and fiato were outstanding but his diction and phrasing were quite poor since he never cared to give a sense to what he sang; in other words, he was just an awesome voice but lacked any quality as actor. On stage he was even worse since he could barely move... I wonder how he could have made a career nowadays, with the current productions under "regie" policy. Well, maybe the Met and their XIX century productions....
Often the beat is speeded-up? Why? It is a short masterpiece, conductor are you in a hurry? Love the way Mamma Lucia murders the bread, the blade missed Urea, it might have been a blessing. Watch and listen to the Karajan version
David Jazani Listen yes, Karajan's version is very good. But as for watching... Only Cossotto is worth looking at as well as listening to (and of course the great Fedora Barbieri as Mamma Lucia). Because Strehler, the great Strehler, was out of ideas for this one!
David Jazani I agree: What's the rush. I know there are about 15 minutes of beautiful music for the stage director to do something with, but without an obvious benefit of driving the plot (such that it is). Having been in what is now The Washington National Opera at the Kennedy Center's performances way back in 1991 of "Cav/Pag", I saw and overheard the production go through the same dilemmas. Stage director ended up ripping off a video cassette's staging for the overture of Cavalleria, thereby finding some on-stage action at least, and the conductor didn't rush through anything.
To Javier: Are you a singer? If you are not, don't criticize Pavarotti's diction. In addition, I must say that it took me years to get used to the Squiillo in his voice. It is an acquired taste. Have you listened to Pavarotti in recital? I own almost everything he recorded. As an opera singer (internationally) as well as a a recitalist for 53 years, I have great admiration for the artistry of Pavarotti. I am a baritone and do not judge harshly. His breath control (the Melocchi Technique) was something that very few singers could conquer.
Opera en un acte de Pietro Mascagni aux Chorégies d'Orange 2009. Avec : Roberto Alagna (Turiddu) ; Béatrice Uria-Monzon (Santuzza) ; Seng-Hyoun Ko (Alfio) ; Stefania Toczyska (Mamma Lucia) ; Anne-Catherine Gillet (Lola)
Excellent Alagna! Le soprano avait un peu trop di vibrato et un peu trop de grimaces, à mon avis. Et faire comparaison entre Turiddu et le Christ crucifié à la fin je trouve un peu exagéré. Turiddu était bien loin d'etre innocent ou saint etc..., disons qu'il à porté sur lui sa punition. De Georges Pretre... que dire!!!
Смотрела эту версию несколько раз. Каждый раз чувства не остаются в покое. Послушаю снова потому, что постановка прекрасна во всем. Спасибо
C,est toujours aussi beau et bien chanté, je l'avais vu en direct d'orange. Merci beaucoup de l'avoir redonné.
Merci! Juste à temps pour Pâques!
What a fine dramatic artist Beatrice Uria Monzon has become . Alagna embodies this role outstandingly.
Una excelente versión, especialmente los dos protagonistas. Roberto Alagna ha estado magnifico en un papel dramático que le va a su voz. Y Bearice Uria-Monzon, aunque no sea una voz de primerísimo orden, aún ha tenido más mérito por el dramatismo que ha sabido imprimirle a su interpretación, tanto en el canto como en la actuación. ¡Ha estado genial! El director musical, Georges Prêtre, creo que ha conseguido que la orquesta expresara en todo momento el sentimiento y la tragedia que la obra requiere en algunos fragmentos. Y la dirección de escena ha sido original y artística, sin estridencias ni rarezas fuera de tono. Repito: ¡una magnífica versión!
Excellent jeu d'acteur, très beaux chants, le tout dans un magnifique lieu, quelle superbe interprétation de ce sublime opéra !
.meravigliosa e sorprendente . A cominciare dalla scenografia . L'Autore ha riversato la grecità mediteraanea in termini contemporanei da meritare mille applausi per la sua creatività. Commplimenti .
Magnifique interprétation, quelle diction chaque mot et chaque note sont chantés. Bravo
Maravilhoso.... Lúdico, obra de mestre
Deslumbrante apresentação!!!
Bravos! Bravos! Bravos!😉👏
This entire performance rates up there at the very top of the tree ! Alagna is magnificently wonderful and Beatrice is sublime, stunningly beautiful and heartbrekingly perfect in this role ! I have 'shared' it around the world...literally and hope that at least a few of my friends take an hour or so to relish it's perfection !
Trés bon moment à partager. Alagna égal à lui-même.
Magnifique Intermezz, Merci Maestro
El postre del día ! Y que postre ! Bellas voces, escenografía interesante, gran orquesta. Tan creíble el sufrimiento de Santa y no digamos el descaro y coquetería de Lola. Mama Lucia, soberbia !. Que Opera ! Gracias por presentar estas obras.
Excelente presentación gracias
struggente interpretazione del Intermezzo! bravissimo Maestro Prêtre
Un auténtico disfrute para los sentidos. Excelente representación. Gracias.
Watch this opera almost every day when I edit my photos for Facebook. :)
Bravi tutti!
Las Maravillas existen,,,Muchas Gracias Italia
Grandíssimo espectáculo!!!
Simplesmente belíssimo...
Why do I always cry? Damn...
ma l'insieme è un OPTIONAL!!!!
Alagna pensa ad un tempo, Prêtre ad un altro, Mascagni ad un altro ancora
Among the new crop of tenors it seems that Alagna is rising to the lead position. He is more than bilingual. His technique is excellent and he embodied the old adage, "Chi sa ben parlare, sa ben cantare." Among tenors, his diction is superb and quite understandable. He is still young. Only Pavarotti had better diction.
+Richard Allen ... and Alfredo Kraus to my taste.
Pavarotti had some virtues and many flaws as singer. His legato and fiato were outstanding but his diction and phrasing were quite poor since he never cared to give a sense to what he sang; in other words, he was just an awesome voice but lacked any quality as actor. On stage he was even worse since he could barely move... I wonder how he could have made a career nowadays, with the current productions under "regie" policy. Well, maybe the Met and their XIX century productions....
❤️❤️❤️❤️❤️❤️❤️❤️❤️
Often the beat is speeded-up? Why? It is a short masterpiece, conductor are you in a hurry? Love the way Mamma Lucia murders the bread, the blade missed Urea, it might have been a blessing.
Watch and listen to the Karajan version
David Jazani Listen yes, Karajan's version is very good. But as for watching... Only Cossotto is worth looking at as well as listening to (and of course the great Fedora Barbieri as Mamma Lucia). Because Strehler, the great Strehler, was out of ideas for this one!
David Jazani I agree: What's the rush. I know there are about 15 minutes of beautiful music for the stage director to do something with, but without an obvious benefit of driving the plot (such that it is).
Having been in what is now The Washington National Opera at the Kennedy Center's performances way back in 1991 of "Cav/Pag", I saw and overheard the production go through the same dilemmas. Stage director ended up ripping off a video cassette's staging for the overture of Cavalleria, thereby finding some on-stage action at least, and the conductor didn't rush through anything.
To Javier: Are you a singer? If you are not, don't criticize Pavarotti's diction. In addition, I must say that it took me years to get used to the Squiillo in his voice. It is an acquired taste. Have you listened to Pavarotti in recital? I own almost everything he recorded. As an opera singer (internationally) as well as a a recitalist for 53 years, I have great admiration for the artistry of Pavarotti. I am a baritone and do not judge harshly. His breath control (the Melocchi Technique) was something that very few singers could conquer.
Opera en un acte de Pietro Mascagni aux Chorégies d'Orange 2009. Avec :
Roberto Alagna (Turiddu)
; Béatrice Uria-Monzon (Santuzza) ;
Seng-Hyoun Ko (Alfio) ;
Stefania Toczyska (Mamma Lucia) ;
Anne-Catherine Gillet (Lola)
Excellent Alagna! Le soprano avait un peu trop di vibrato et un peu trop de grimaces, à mon avis. Et faire comparaison entre Turiddu et le Christ crucifié à la fin je trouve un peu exagéré. Turiddu était bien loin d'etre innocent ou saint etc..., disons qu'il à porté sur lui sa punition. De Georges Pretre... que dire!!!
aucun des protagonistes est innocent ou sainte