Simon Keenlyside is one of the best baritones today and this performance is very very beautiful; i love this kind of "canon" dancing at the beginning. It is gorgeous.
It's good to hear this music sung with more complete and full voices. IMO, it brings brings a much bigger palette of emotions and effects to this music. The voices usually singing this are either (IMO) often flute-like and one-coloured, or they have so strongly adopted the technical trends of this genre that there is very little individuality and primal sound left to enjoy. The problem with singing on technical principles that constantly color the voice in one way or another is that it becomes monotonous, and you have nothing else to offer. That said, I know some listeners and performers who love the 'modern early music sound', and are happy to hear that sound cast in all roles, throughout an entire opera. I can't say they're wrong, it's just a taste. I've listened to "Tu se' morta" sung by Georg Nigl and become fascinated every time I do so. He starts out in a very typical early music aesthetic, and then it changes quite dramatically from the line "per mai piu", and the emotional impact of that change of timbre and handling of the music is pretty huge for me. That barren, confined straight-tone is a tool for certain emotions and effects for me, potentially a great one, but when it becomes a general vocal technique I just zone out. I am not saying that mr Nigl is a technical role model (because he really is not) but from a point of aesthetics and vocal drama I think he is.
Many years ago now, I saw this production at the Brooklyn Academy of Music, and loved it (except for the fact that Jacobs put the recitatives in a rhythmic straight-jacket by conducting them!). It helped that I had seen other choreography by the great Trisha Brown (1936-2017) over the years; it's in a tradition of American modern dance based on everyday walking movement which may be unfamiliar to many people. Her integration of singers with dancers throughout was exemplary. Also, this is movement that needs to be seen "in the house," not in close-up, which mutes its joyous collective kinetic energy. Two magical moments that remain in my memory: 1. the Prologue, in which the figure of La Musica - sung from the orchestra pit - was portrayed by a single dancer flying through the air; and 2. the change from Earth to Hades, when a black vertical line of scenery moved from right-to-left, and the stage was gradually plunged into darkness. Along with her (even finer) production of Salvatore Sciarrino's "Luci miei traditrici," this "Orfeo" makes me regret that she didn't direct more operas. Thank you. :)
I Love it love it love it! I watch this whenever I need to feel completely exhilarated. Sublime singing, amazing period performances from Jacobs ensemble and the Choreography wonderous. I wholeheartedly agree with Greengate. Savall? of course and Jacobs/Brown too!! Its a rapturous performance. Thank you
If some things are just fantastic, this production surely belongs to that group. As always it is a matter of opinion and sensibility. Dance is not to be explained, either you feel it or not. The Opera itself, well...it is just superb and the tone just perfect for the voices. Contemporary productions of this quality are needed, we need our memories. I do appreciate opinions on more "traditional" approaches: for the initiate they help putiing things in perspective. Final comment: buy the DVD!
While I find the staging of this production silly, the voices chosen to represent the parts are among the greatest I have ever heard. It is wonderful that "Hope" is now commonly allotted to countertenors; more rarely, "Music" has been sung by men in modern performances as well. Thank you for sharing!
Amen! I saw this production when it came to the Brooklyn Academy of Music, and agree 100%. Director-choreographer Trisha Brown handled the difficult task of integrating singers and dancers beautifully. The movement and groupings were not meant to be seen in close-up: in the theater, they were wonderfully "at one" with the music. This is one video where I long for full-stage shots, with very little cutting! Thank you. :)
It would be nice if the choreography actually integrated with the music, which in many cases it doesn’t in this production. Sorry that I can’t bow down to the pointless and gratuitous incongruity of the music and this staging.
Simon come sempre bravissimo in ogni ruolo. L'allestimento non aggiunge nulla alla bellissima opera di Monteverdi. Aspetto la nascita di un nuovo Ponnelle...ci manca un artista che capisca il giusto equilibrio tra musica e scena.
love the movements, feels like a natural flow with music...overall this version in whole is outstanding! Thank you for this unusual and beautiful performance!
Monteverdi cravado no século XXI com a dinâmica de nosso tempo. Que momento feliz da coreografia e música. Atravessa Monteverdi o tempo, atravessa! Parabéns ao grupo!
Today, on February 24 1607, this opera premiered in Mantua! Happy anniversary! As a (non-professional) singer I was overjoyed to find this video and I'm incredibly touched by the visual as well as auditive quality of this production. How I would have enjoyed being present when this was ‘given’; don’t forget it’s OPERA and in their early time, this kind of entertainment was basically a play, intercepted by lengthy sessions of music. This opera was the first one where all actors were singing this premiere opened & changed people’s perception of this genre of ‘acted music & played theatre’…. I think this is absolutely magnificent and beautiful.
i agree with you--as a singer (non professional) as well. it's adorable, if a little tedious but that's probably because I don't know much about modern dance. People who are internet-couch potatoes can't digest anything the least unexpected or novel. phooey on them.
An amazing production which you can watch in so many ways. Look above the dancers and just take in the orchestra. Marvel at Keenlyside's full talents of voice, dance, and acting. I'm not a dancer so I tend to watch the faces. When I view with my eyes focused at shoulder level the dance and hand movements amplify and move me greatly. Give it a try several times and see if it works for you.
Yes, yes, yes! I have never read a better expression of what the music of il divino does to me! Or what the spirit of the epoche which's epitome he was, means to me: good or bad, pain or joy, happiness or hurt: I am glad to be alive!
...when I fly to Mars with no return, I want to hear this again and again till the end of my life on mars! - And, selbstverständlich, Atom Heart Mother by Pink Floyd, too.
Although the oldest opera "Dafne" is lost, Peri's opera L'Euridice is the oldest opera we still have today. (Even though it was partly written by Caccini).
Relativ puristische Inszenierung. Nicht übel nach meinem Empfinden. Obwohl ich Spätrenaissance-Klamotten (meinetwegen: Frühbarock) durchaus betrachtenswert finde. Die Klamotten empfinde ich weniger als Pyjamas, eher als Totenhemden. Über die Musik muss kein Wort verloren werden. Segonda pratica und so weiter. Wunderbar den guten Claudio umgesetzt.
ORFEO: Mira ahora, vuelvo a ti, queridos bosques y queridas colinas, hecho bendito por ese sol a través de quien solo mi oscuridad se ilumina. PRIMER PASTOR: Mira, Orfeo, cómo la sombra de esos árboles de hayas nos invita, ahora que los dardos Phoebus quemando rayos del cielo. En estos bancos de hierba Descansemos, y dejemos que cada uno a su manera, suelta su voz al murmullo de las aguas. PRIMER Y SEGUNDO PASTOR: En este prado florido cada deidad selvática a menudo no para permanecer por su placer. Aquí Pan, el dios de los pastores, a veces se ha escuchado lamentarse, recordando dulcemente sus amores no correspondidos CORO de NYMPHS y PASTORES: Aquí las encantadoras dríadas, una compañía siempre adornada con flores, se han visto recolectando rosas con dedos blancos. Por lo tanto, Orfeo, haz digno del sonido de tu lira estos campos, donde sopla una brisa con los perfumes de Araby. ORFEO: ¿Recuerdas, oh bosque sombrío, mis largos y amargos tormentos, cuando las rocas, sus corazones se suavizaron, respondió a mis lamentos? Dime, ¿entonces no te pareció? más miserable que cualquier otro? Ahora la fortuna ha cambiado su tono y convirtió mis infortunios en regocijo. Una vez viví en tristeza y tristeza; ahora me regocijo, y esas ansiedades que he sufrido durante tantos años hacer mi estado presente feliz más querido. A través de ti solo, encantadora Eurydice, Bendigo mis tormentos; después del dolor, uno está más contento, después de la aflicción, uno es más feliz. PRIMER PASTOR: Mira, oh, mira, Orfeo, cómo a tu alrededor el bosque y la pradera sonríen. Luego continúa, con tu púa de oro, para endulzar el aire tan bendito por día.
Monteverdi, like any of the great composers is pretty well timeless and universal, so I usually find that a contemporary interpretation is not at odds with the works. keenlyside is, as ever, in fine voice.
I nearly forget the modern ballet when I'm listening to the beautiful voices. As far as I know this way of singing I think they perform it as it should be. Dacor31
@NotHomelessAnymore Interesting. I like the Savall version better musically, yet I find both stagings superb - and am actually a little more inclined for the choreography in the Jacobs' version. The Savall choreography is simply and ecstatically beautiful, but seeing Orpheus dance with the other singers is a treat.
Non sono un professionista della musica ma credo di essere in grado di distinguere la qualità dei vari direttori d'orchestra: Rene Jacobs è il mio preferito a dirigere la musica "barocca" e "pre barocca". Peccato che non sia considerato abbastanza per quello che vale : forse vuole occuparsi "solo" di musica. Comunque, bravo,molto bravo: spero continui a dirigere almeno fin quando potrò ascoltarlo. Giovanni
the musical performance - superb, as one would expect of Renee Jacobs. -- choreographically, a disaster: how could one probably miss the opportunities for the fanciest imaginable footwork that Monteverdi's rhythmic designs so suggestively offer? the dancers are directed to virtually march! yet still, many thanks for an outstanding post
where can I find the whole opera? Is there a link or something like that? I have to watch it for an exam and I would like to watch this one with Simon!
Alessia Mauro just .. dont.. it’s historicaly inaccurate, the voice techniques the most. And I wont mention the choreography. Watch version by Jordi Savall, its one of the best versions ever recorded, its even on youtube (and you can download it and download subtitles, they exist somewhere.)
Baroque music is essentially abstract, the voices are used as instruments, so - why not use dancers and singers in the same manner? The plot is not so crucial in baroque operas, and given their structure, they can be sometimes tooooo long and boooooring, while this definitely is not. And moreover, this goes to show that not all opera singers are just beautiful voices in wooden bodies.
For all the purists around, you need to understand that this is what makes a the universality of a masterpiece, it's ability to speak for people in different times and cultures. I think it is ridiculous to just recreate again and again the 16-th century staging. I's like seeing stuffed animals in recreated environment in museums of natural history. Monteverdi wrote a piece of music on an ancient narrative but he used the artistic means of his time, not of ancient Greeks.
I find that if one has to promote his or her stagings/choreography by means of making fun of ways of the old and insulting it... then there isn't much substance to it. I'd be able to take modernizations and alternate stagings more seriously if they weren't so egotistical about it, and put down other peoples' hard work.
Che eleganza che leggerezza! Apparentemente lontano eppure vicinissima all'Orfeo
I've been quarantining for a year. I'm losing it. The men in white coats have come for me!
Simon Keenlyside is one of the best baritones today and this performance is very very beautiful; i love this kind of "canon" dancing at the beginning. It is gorgeous.
Ricordo che Monteverdi scrisse anche i passi del balletto, un genio assoluto...🎉
This is perfection. What an amazing opera and dance performance!
I have watched this several times now, transfixed by it. I just love it.
NOT ENOUGH STARS TO RATE THIS.
Not a jewel - A TREASURE.
that is one awesome leap before he starts singing: how many singers can do that, start on the beat and on pitch? Wow!
6:30
It's good to hear this music sung with more complete and full voices. IMO, it brings brings a much bigger palette of emotions and effects to this music. The voices usually singing this are either (IMO) often flute-like and one-coloured, or they have so strongly adopted the technical trends of this genre that there is very little individuality and primal sound left to enjoy. The problem with singing on technical principles that constantly color the voice in one way or another is that it becomes monotonous, and you have nothing else to offer. That said, I know some listeners and performers who love the 'modern early music sound', and are happy to hear that sound cast in all roles, throughout an entire opera. I can't say they're wrong, it's just a taste.
I've listened to "Tu se' morta" sung by Georg Nigl and become fascinated every time I do so. He starts out in a very typical early music aesthetic, and then it changes quite dramatically from the line "per mai piu", and the emotional impact of that change of timbre and handling of the music is pretty huge for me. That barren, confined straight-tone is a tool for certain emotions and effects for me, potentially a great one, but when it becomes a general vocal technique I just zone out. I am not saying that mr Nigl is a technical role model (because he really is not) but from a point of aesthetics and vocal drama I think he is.
Many years ago now, I saw this production at the Brooklyn Academy of Music, and loved it (except for the fact that Jacobs put the recitatives in a rhythmic straight-jacket by conducting them!). It helped that I had seen other choreography by the great Trisha Brown (1936-2017) over the years; it's in a tradition of American modern dance based on everyday walking movement which may be unfamiliar to many people. Her integration of singers with dancers throughout was exemplary. Also, this is movement that needs to be seen "in the house," not in close-up, which mutes its joyous collective kinetic energy. Two magical moments that remain in my memory: 1. the Prologue, in which the figure of La Musica - sung from the orchestra pit - was portrayed by a single dancer flying through the air; and 2. the change from Earth to Hades, when a black vertical line of scenery moved from right-to-left, and the stage was gradually plunged into darkness. Along with her (even finer) production of Salvatore Sciarrino's "Luci miei traditrici," this "Orfeo" makes me regret that she didn't direct more operas. Thank you. :)
I Love it love it love it! I watch this whenever I need to feel completely exhilarated. Sublime singing, amazing period performances from Jacobs ensemble and the Choreography wonderous. I wholeheartedly agree with Greengate. Savall? of course and Jacobs/Brown too!! Its a rapturous performance. Thank you
Jacopo Peri was the first but Monteverdi really brought opera into the spotlight.
If some things are just fantastic, this production surely belongs to that group. As always it is a matter of opinion and sensibility. Dance is not to be explained, either you feel it or not. The Opera itself, well...it is just superb and the tone just perfect for the voices. Contemporary productions of this quality are needed, we need our memories. I do appreciate opinions on more "traditional" approaches: for the initiate they help putiing things in perspective. Final comment: buy the DVD!
The singing is simply wonderful, so light and harmonic... great voices!
That first shepherd's voice is just beautiful! John Bowen perhaps is his name? Keenlyside of course is fabulous as well.
While I find the staging of this production silly, the voices chosen to represent the parts are among the greatest I have ever heard. It is wonderful that "Hope" is now commonly allotted to countertenors; more rarely, "Music" has been sung by men in modern performances as well. Thank you for sharing!
I mostly agree with Jacob carpenter. The staging gets in the way of the music and contributes with nothing, I think.
this is the finest staging of orfeo ever...
Amen! I saw this production when it came to the Brooklyn Academy of Music, and agree 100%. Director-choreographer Trisha Brown handled the difficult task of integrating singers and dancers beautifully. The movement and groupings were not meant to be seen in close-up: in the theater, they were wonderfully "at one" with the music. This is one video where I long for full-stage shots, with very little cutting! Thank you. :)
@@treesny thanks for your comment. I really hated this staging as it's shown in the video; now from your description it makes more sense.
It would be nice if the choreography actually integrated with the music, which in many cases it doesn’t in this production. Sorry that I can’t bow down to the pointless and gratuitous incongruity of the music and this staging.
Simon come sempre bravissimo in ogni ruolo. L'allestimento non aggiunge nulla alla bellissima opera di Monteverdi. Aspetto la nascita di un nuovo Ponnelle...ci manca un artista che capisca il giusto equilibrio tra musica e scena.
Magnificent, fantastic, divine !!!
simon keenlyside has that glorious and powerful singing voice. Perfect!!!!
Arguably the first opera as we know them today.
Cuanto talento ,gran coreografía ,Simon excepcional
I have seen the whole production some months/ years ago. Strange, but works. Now I found this excerpt and can not stop watching it.
what an imaginative production, I was spell bound, utterly delightful
love the movements, feels like a natural flow with music...overall this version in whole is outstanding! Thank you for this unusual and beautiful performance!
Monteverdi ,compuso está maravilla ,sin estudio de grabación ,solo con cabeza imaginación , papel y pluma o lápiz
Lo trovo bellissimo grazie a chi lo ha messoin rete.Stupendo il movimento fluido dei cantanti che accompagna la musica
what a perfect voice!!!! Simon Keenlyside is really amazing!!!
Monteverdi cravado no século XXI com a dinâmica de nosso tempo. Que momento feliz da coreografia e música. Atravessa Monteverdi o tempo, atravessa! Parabéns ao grupo!
a gem
again René Jacobs outdid himself bringing us this beautiful interpretation.
thanks for posting
Today, on February 24 1607, this opera premiered in Mantua! Happy anniversary!
As a (non-professional) singer I was overjoyed to find this video and I'm incredibly touched by the visual as well as auditive quality of this production. How I would have enjoyed being present when this was ‘given’; don’t forget it’s OPERA and in their early time, this kind of entertainment was basically a play, intercepted by lengthy sessions of music. This opera was the first one where all actors were singing this premiere opened & changed people’s perception of this genre of ‘acted music & played theatre’…. I think this is absolutely magnificent and beautiful.
i agree with you--as a singer (non professional) as well. it's adorable, if a little tedious but that's probably because I don't know much about modern dance.
People who are internet-couch potatoes can't digest anything the least unexpected or novel. phooey on them.
An amazing production which you can watch in so many ways. Look above the dancers and just take in the orchestra. Marvel at Keenlyside's full talents of voice, dance, and acting. I'm not a dancer so I tend to watch the faces. When I view with my eyes focused at shoulder level the dance and hand movements amplify and move me greatly. Give it a try several times and see if it works for you.
Yes, yes, yes! I have never read a better expression of what the music of il divino does to me! Or what the spirit of the epoche which's epitome he was, means to me: good or bad, pain or joy, happiness or hurt: I am glad to be alive!
Muito obrigado por postar este extrato de grande beleza!
Very fine nuances. Glad that I found this again.
¡¡Maravillosa la música y la danza!! ¡Felicitaciones!
Y si, en efecto canta bello y es guapisimo. En persona es hermoso y es una bella persona tambien.
Finalmente!!! Belle voci in un opera di Monteverdi, bella linea di canto, bel vibrato. Al fin si ascolta bene questa musica
Vše je tu prostě geniální! Děkuji!
OMG!!! The first shepherd's voice is out of this world. So beautiful and sounds so natural and effortless. Someone can tell me who is HE? thank you.
Perhaps it is John Bowen? A beautiful voice.
Baritone Simon Keenlyside. Check out his Schubert Lieder!
I love the performance, orfeo is so good!
Splendida interpretazione di Orfeo ed Euridice,
I play baroque violin.
I really love the first dance in this video! Violin, recoder, zink.. everything is very beautiful! Thank you for uploading.
Great scenography! Great opera
Grande maestro Monteverdi, Great Opera.... Crappy scenography!
...when I fly to Mars with no return, I want to hear this again and again till the end of my life on mars! - And, selbstverständlich, Atom Heart Mother by Pink Floyd, too.
.
Wow! It's a good contemporary version. I like it!
THE BEST thumbnail on facebook
Oh how wonderful is this?!?!?! Thank you for sharing!
Sometimes one wish youtube had only audio 8-)
Se llama Simon Keenlyside. Baritono inglés. Hace uno dias terminó la primera temporada de Eugen Oneguin de Tchaikovsky aqui en Viena.
very good, as long as I keep my eyes closed.
Interprétation contemporaine, mise en valeur de l'oeuvre .. Magique..
The duet at 3:47 is awsome with the male castrati and soprano! great gob you two!
this is wonderful..just great
Although the oldest opera "Dafne" is lost, Peri's opera L'Euridice is the oldest opera we still have today. (Even though it was partly written by Caccini).
Relativ puristische Inszenierung. Nicht übel nach meinem Empfinden. Obwohl ich Spätrenaissance-Klamotten (meinetwegen: Frühbarock) durchaus betrachtenswert finde. Die Klamotten empfinde ich weniger als Pyjamas, eher als Totenhemden. Über die Musik muss kein Wort verloren werden. Segonda pratica und so weiter. Wunderbar den guten Claudio umgesetzt.
Belíssima montagem! Admirável o despojamento coreográfico que parece desenhar a linha musical de L'Orfeo!
True magic.
What a delicious staging... Charming set, splendid costumes... L'Orfeo in the psychiatric hospital... It's better to listen the CD at home...
ORFEO:
Mira ahora, vuelvo a ti,
queridos bosques y queridas colinas,
hecho bendito por ese sol
a través de quien solo mi oscuridad se ilumina.
PRIMER PASTOR:
Mira, Orfeo, cómo la sombra
de esos árboles de hayas nos invita,
ahora que los dardos Phoebus
quemando rayos del cielo.
En estos bancos de hierba
Descansemos, y dejemos que cada uno
a su manera, suelta su voz
al murmullo de las aguas.
PRIMER Y SEGUNDO PASTOR:
En este prado florido
cada deidad selvática
a menudo no
para permanecer por su placer.
Aquí Pan, el dios de los pastores,
a veces se ha escuchado lamentarse,
recordando dulcemente
sus amores no correspondidos
CORO de NYMPHS y PASTORES:
Aquí las encantadoras dríadas,
una compañía siempre adornada con flores,
se han visto recolectando rosas
con dedos blancos.
Por lo tanto, Orfeo, haz digno
del sonido de tu lira
estos campos, donde sopla
una brisa con los perfumes de Araby.
ORFEO:
¿Recuerdas, oh bosque sombrío,
mis largos y amargos tormentos,
cuando las rocas, sus corazones se suavizaron,
respondió a mis lamentos?
Dime, ¿entonces no te pareció?
más miserable que cualquier otro?
Ahora la fortuna ha cambiado su tono
y convirtió mis infortunios en regocijo.
Una vez viví en tristeza y tristeza;
ahora me regocijo, y esas ansiedades
que he sufrido durante tantos años
hacer mi estado presente feliz más querido.
A través de ti solo, encantadora Eurydice,
Bendigo mis tormentos;
después del dolor, uno está más contento,
después de la aflicción, uno es más feliz.
PRIMER PASTOR:
Mira, oh, mira, Orfeo, cómo a tu alrededor
el bosque y la pradera sonríen.
Luego continúa, con tu púa de oro,
para endulzar el aire tan bendito por día.
Gracias!!!
Grasias
Orfeo de lira?
Bravissimo!
Monteverdi, like any of the great composers is pretty well timeless and universal, so I usually find that a contemporary interpretation is not at odds with the works. keenlyside is, as ever, in fine voice.
I nearly forget the modern ballet when I'm listening to the beautiful voices. As far as I know this way of singing I think they perform it as it should be.
Dacor31
Merveilleux!
El genio de Monteverdi es intemporal.
Simon Keenlyside es un Papageno y un Orfeo sin parangón. Magistral.
La belleza de la simplicidad en escena.
troppo bello
απιστευτα ομορφο ! !!!
I am part of the Monteverdi family!
Respect.
1:10 The pre-dab, much more majestic and refined
otro nivel!!!!!
The ending bit at 6:50 is gorgeous.
obra de arte !
magnificent!
전세계 인류 최초의 오페라
@NotHomelessAnymore
Interesting. I like the Savall version better musically, yet I find both stagings superb - and am actually a little more inclined for the choreography in the Jacobs' version.
The Savall choreography is simply and ecstatically beautiful, but seeing Orpheus dance with the other singers is a treat.
amazing!
Köszi!
bello!!!
Look up "orchestra of Monteverdi" and you will get the whole list. Jacobs uses these old instruments in this production. Hope this helps
Ma quanto è carina da uno a dieci la ballerina coi capelli corti? *_* UNDICI!
Simon Keenlyside is really outstanding judging from this and his performance as Papageno in the Magic Flute.
Poesia, cultural linda
Para mi sigue siendo la mejor interpretación que se ha hecho.
Like si tu maestra te envío aquí para hacer la tarea, y te estas preguntando que dice lo que canta???
Yo tengo q hacer un video de 30 segundos bailando un tramo de esto al ritmo de la música lo pero es q ni se como lo are
The singing's so beautiful
The singing: 6:29
GENIAL
me enamoréee del orfeo, yo kiero uno asi para miii! jajajaja
Non sono un professionista della musica ma credo di essere in grado di distinguere la qualità dei vari direttori d'orchestra: Rene Jacobs è il mio preferito a dirigere la musica "barocca" e "pre barocca".
Peccato che non sia considerato abbastanza per quello che vale : forse vuole occuparsi "solo" di musica.
Comunque, bravo,molto bravo: spero continui a dirigere almeno fin quando potrò ascoltarlo.
Giovanni
he looks like one of the dancers:-) incredible
alas, such ungly costumes!
Very much in love.
but keenlyside is 50 years old, isn't he? or this video was made 20 years ago? incredible...
the musical performance - superb, as one would expect of Renee Jacobs. -- choreographically, a disaster: how could one probably miss the opportunities for the fanciest imaginable footwork that Monteverdi's rhythmic designs so suggestively offer? the dancers are directed to virtually march! yet still, many thanks for an outstanding post
where can I find the whole opera? Is there a link or something like that? I have to watch it for an exam and I would like to watch this one with Simon!
+Alessia Mozart dear alessia. I am sure that wolfgang will like it as much as Simon. Of Nannerl I am not so sure .
Its on youtube!
Alessia Mauro just .. dont.. it’s historicaly inaccurate, the voice techniques the most. And I wont mention the choreography. Watch version by Jordi Savall, its one of the best versions ever recorded, its even on youtube (and you can download it and download subtitles, they exist somewhere.)
Baroque music is essentially abstract, the voices are used as instruments, so - why not use dancers and singers in the same manner? The plot is not so crucial in baroque operas, and given their structure, they can be sometimes tooooo long and boooooring, while this definitely is not. And moreover, this goes to show that not all opera singers are just beautiful voices in wooden bodies.
Great to hear this done by a high baritone rather than a tenor singing too low in his voice to give the sound any real colour or passion.
No te entiendo
agree. he was recently seen sword fighting in Don Carlo. still in great shape and great voice
For all the purists around, you need to understand that this is what makes a the universality of a masterpiece, it's ability to speak for people in different times and cultures. I think it is ridiculous to just recreate again and again the 16-th century staging. I's like seeing stuffed animals in recreated environment in museums of natural history. Monteverdi wrote a piece of music on an ancient narrative but he used the artistic means of his time, not of ancient Greeks.
I find that if one has to promote his or her stagings/choreography by means of making fun of ways of the old and insulting it... then there isn't much substance to it. I'd be able to take modernizations and alternate stagings more seriously if they weren't so egotistical about it, and put down other peoples' hard work.