Giulio Cesare | Haendel | D. Michieletto, P. Jaroussky (full opera) G. Arquez, S.Devieilhe - 2022
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- čas přidán 5. 07. 2024
- Julius Caesar by Haendel with Gaëlle Arquez, Sabine Devieilhe and Franco Fagioli, in the new staging by Damiano Michieletto under the direction of Philippe Jaroussky. Recorded at the Théâtre des Champs-Elysées in June 2022.
With :
Philippe Jaroussky | direction
Damiano Michieletto | stage direction
Gaëlle Arquez | Jules César
Sabine Devieilhe | Cleopatra
Franco Fagioli | Sextus
Lucile Richardot | Cornelia
Carlo Vistoli | Ptolemy
Francesco Salvadori | Achilles
Paul-Antoine Bénos-Djian | Nireno
Adrien Fournaison | Curio
Ensemble Artaserse
With the participation of La Caisse des Dépôts / Sponsor of the audiovisual retransmissions of the Théâtre des Champs-Elysées
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CHAPTER
00:00 Introduction
0:49 Act I - Scene 1
5:48 Act I - Scene 2
7:00 Act I - Scene 3
12:52 Act I - Scene 4
25:07 Act I - Scene 5
32:12 Act I - Scene 6
37:25 Act I - Scene 7
42:30 Act I - Scene 8
55:54 Act I - Scene 9
1:03:38 Act I - Scene 10
1:05:10 Act I - Scene 11
1:18:32 Act II - Scene 1
1:24:31 Act II - Scene 2
1:39:24 Act II - Scene 3
1:41:35 Act II - Scene 4
1:47:21 Act II - Scene 5
1:47:54 Act II - Scene 6
1:54:35 Act II - Scene 7
1:55:41 Act II - Scene 8
2:12:39 Act II - Scene 9
2:15:09 Act II - Scene 10
2:16:59 Act II - Scene 11
2:23:02 Act III - Scene 1
2:27:04 Act III - Scene 2
2:32:45 Act III - Scene 3
2:41:23 Act III - Scene 4
2:53:51 Act III - Scene 5
2:58:30 Act III - Scene 7
2:59:07 Act III - Scene 8
3:03:41 Act III - Scene 9
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THEATER PROGRAM
Find the program : www.calameo.com/read/00304551...
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Discover the opera season at the Théâtre des Champs-Elysées :
go.theatrechampselysees.fr/Ia...
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Gaëlle Arquez has such a luxurious voice!
Arie:
9:15 - Aria di Cesare: “Empio, dirò, tu sei”
14:31 - Aria di Cornelia: “Priva son d’ogni conforto”
20:53 - Aria di Sesto: “Svegliatevi nel core”
27:57 - Aria di Cleopatra: “Non disperar, chissà?”
33:50 - Aria di Tolomeo: “L’empio sleale indegno”
47:42 - Aria di Sesto: “Cara Speme, questo core”
53:43 - Aria di Cleopatra: “Tu la mia stella sei”
56:53 - Aria di Cesare: “Va tacito e nascosto”
1:05:55 - Aria di Achilla: “Tu sei il cor di questo core”
1:10:20 - Duetto di Sesto e Cornelia: “Son nata a lagrimar”
1:19:45 - Aria di Nireno: “Chi perde un momento”
1:26:22 - Aria di Cleopatra: “V’adoro, pupille”
1:33:32- Aria di Cesare: “Se in fiorito ameno prato”
1:44:09 - Aria di Tolomeo: “Si spietata, il tuo rigore”
1:49:09 - Aria di Sesto: “L’angue offeso mai non passa”
1:57:26 - Aria di Cesare: “Al lampo dell’armi”
2:02:08 - Aria di Cleopatra: “Se pietà di me non senti”
2:17:56 - Aria di Sesto: “L’aura che spira”
2:23:40 - Aria di Achilla: “Dal fulgor di questa spada”
2:28:30 - Aria di Tolomeo: “Domerò la tua fierezza”
2:33:36 - Aria di Cleopatra: “Piangerò la sorte mia”
2:42:28 - Aria di Cesare: “Aure, deh, per pietà”
2:52:09 - Aria di Cesare: “Qual torrente, che cade dal monte”
2:54:22 - Aria di Sesto: “Ha la giustizia ha già sull’arco”
3:00:00 - Aria di Cornelia: “Non ha più che temere”
3:06:29 - Aria di Cleopatra: “Da tempesta il legno infranto”
3:15:46 - Duetto Cleopatra e Cesare, poi Coro: “Più amabile beltà”; “Ritorni omai nel nostro core”
thx!
Grazie mille!
Cara Speme question core
Cara speme, questo core
ありがとうございます！
stunning opening image !
Puesta en escena tan paupérrima que desmerece una ópera de esta categoría
Par la chaleur de son timbre, son pathos, sa musicalité, sa technique et la qualité de sa diction Sabine DEVIEILHE me rappelle une autre très grande soprano, une de mes préférées et qui nous a, hélas, déjà quitté ; Edita GRUBEROVA.
Franco Fagioli....Bravo! Those who likes him and this Opera, please don't miss Julio Caesar in Egypt in Teatro Colon June 2017. Great Performance of all the cast.
Comme toujours Melle Devieilhe exceptionnelle de justesse - surprise - respect - innovation - ligne de chant... un trésor de la République ! et que dire du Signor Fagioli qui fait renaitre l'idée de ce que pût être le travail hallucinant des castrats du 18ème et de l'impact qu'ils eurent sur leurs contemporains = le tout dirigé par un prodige du chant qui connait toutes les contraintes d'un chanteur / acteur un must dans ma discographie auprès de la version avec Natalie Dessay et celle de Cécilia Bartoli toutes 2 différentes dans leur approche mais passionnantes Merci à ces grands artistes et à l'abnégation que cela représente en plus de la somme de travail ! 🙏🙏😘😘
What I really loved about this production is its unique interpretation of characters during various arias. For example, you'd normally expect Cornelia and Sextus to be holding each other tightly during 'Son nata a lagrimar" but in this interpretation, they are so consumed in their own grief, that they are unable to comfort the other which is a very interesting take on the aria. Also loved the villainous performance of Carlo Vistoli.
Sublime singing, extremely poignant and deeply touching staging. That's a rare combo.
I totally agree.
Quel plateau somptueux ! Alors que je peux souvent avoir des doutes à l'égard de mises en scène "déportées" de leur contexte originel, celle-ci est magnifique et nous offre des images et des symboles d'une grande puissance. Le dépouillement laisse place à un vrai travail d'acteurs et favorise le drame. Il se dégage une force incroyable de ce spectacle. J'adore.
❤
J'ai rarement vu des chanteurs s'étriper sur une scène avec autant de vigueur.
Les images et symboles dont vous parlez, montrent toute la finesse, la prégnance, l'intelligence et la cohérence stylistique du metteur en scène, qui transcende ainsi partition et intrigue, pour ne laisser s'exprimer que les passions déchirantes des uns et des autres. Un chef-d'œuvre qui restera dans les annales à l'instar d'autres mises en scènes de son illustre prédécesseur et compatriote Giorgio STREHLER qui ont tant marqué les esprits et dont on parle encore.
I wish I had seen this live. Thanks for posting. Beautiful production.
Have a look to the Glyndebourne summer festival.
I was very fortunate to see this exact production in Paris at the stunning Théâtre des Champs Élysées. Mind blowing!
@@kschmoopy Did you sleep the following night or did you were still "hypnotized" and enchanted ? ☺🙂
Artisti straordinari e produzione fantastiche (checché ne dicano molti che non l’hanno apprezzata). Francesco Salvadori un baritono straordinario così come Sabine Deilehive.
Bellissimo il riferimento alle Parche che governano la vita e la morte degli uomini con i loro fili; il “Peso” della vendetta che Sesto mette sulla bilancia risultando non abbastanza pesante; e la scena finale… che dire, la chiusura dell’Opera con la morte di Cesare che fa riderimento al quadro di Vincenzo Camuccini “La morte di Cesare” è un vero tocco di classe.
Che dire, mi sento fortunato ad essere italiano e a poter godere della gioia di leggere il Libretto originale. Grazie ❤️
Peccato che in quell'Italia che da Monteverdi a Verdi è stata la fucina di buona parte di tutta la cultura vocale classica occidentale, l'Handel operista (come Vivaldi) sia del tutto ignorato e dal grande pubblico e dalle istituzioni, per i quali vige quasi esclusivamente la legge del melodramma. E che dire della trilogia mozartiana che dovrebbe essere in repertorio, permettendo tra l'altro ai nuovi talenti di esprimersi e ai più maturi di consolidare il loro mestiere, come si usa nei teatri di mezzo mondo, da Vienna al MET alla stessa Parigi.
Nell'ultimo DON GIOVANNI prodotto a Salisburgo l'estate scorsa, con la stessa DEVIELHE nel ruolo di Susanna, non c'era un cantante italiano che fosse uno !!!
stronzo, quello dell orgoglio italano😮
Scène 8 de l'acte 2. J'ai eu la chance de le vivre en direct. Un moment de grâce cathartique. Encore bravo pour cette production magnifique.
Thank you! This is a great production!
Sabine's performance of se pietá was beyond superb. Her dynamic choices were powerful; haunting and intimate. That was a master class.
Thanks for your helpful comments. Clearly you are much more knowledgeable and better informed than me about singing but you confirm my feeling she is truly exceptional in every sense. Rial, Jaroussky, Deveilhe, Richardot and Desandre are my absolute favourite baroque opera singers, and when directed by Jaroussky, Haim, Ritchie or Pichon and accompanied by Dunford, Taylor and the new 'wunderkind' Theotime Langlois de Swarte, I'm beyond amazed and spell-bound by their extraordinary musicality - truly a thing of wonder.
That is extraordinary! That's a visual feast and a vocal heaven all in one!
You must have been starving to appreciate that visual feast!!!
@@janwilson9485 oh, no, my problem is quite the opposite one! I'd say I overconsume theatre, and not just the operatic theatre, but all the possible theatric art forms I can find. I love it and I'd dare to day say, I know it quite thoroughly. That's why basic operatic staff cannot satisfy me anymore. Those theater productions are just too uncreative and almost always imitative to my taste. That's why I'm genuinely happy every time I encounter Opera Art and not just another generic Opera Show-business stage piece. That's why I found this Michiletto production so achingly beautiful.
@@janwilson9485 A 'glutton for punishment'!!
Ce « Giusto ciel » fera date. Je retiens surtout que Sabine Devieilhe a atteint une vraie maturité.
Un casting extraordinaire mention spéciale à Franco faggioli et Lucile richardot
Fagioli était horrible dès son premier air…..
Un vrai régal ! Merci !😅❤
Brilliant! Use of reflected images with minimal staging enhances the amazing voices. Bravo!
Where is the Beautiful Magnificent Opening Chorus ?! I am most seriously Displeased. 🤔🧐
Giulio Cesare | Haendel
00:00 Intro
0:49 Acte I - Scène 1
5:48 Acte I - Scène 2
7:00 Acte I - Scène 3
12:52 Acte I - Scène 4
25:07 Acte I - Scène 5
32:12 Acte I - Scène 6
37:25 Acte I - Scène 7
42:30 Acte I - Scène 8
55:54 Acte I - Scène 9
1:03:38 Acte I - Scène 10
1:05:10 Acte I - Scène 11
1:18:32 Acte II - Scène 1
1:24:31 Acte II - Scène 2
1:39:24 Acte II - Scène 3
1:41:35 Acte II - Scène 4
1:47:21 Acte II - Scène 5
1:47:54 Acte II - Scène 6
1:54:35 Acte II - Scène 7
1:55:41 Acte II - Scène 8
2:12:39 Acte II - Scène 9
2:15:09 Acte II - Scène 10
2:16:59 Acte II - Scène 11
2:23:02 Acte III - Scène 1
2:27:04 Acte III - Scène 2
2:32:45 Acte III - Scène 3
2:41:23 Acte III - Scène 4
2:53:51 Acte III - Scène 5
2:58:30 Acte III - Scène 7
2:59:07 Acte III - Scène 8
3:03:41 Acte III - Scène 9
***. Giulio Cesare | Haendel -
Very interesting to see and listen to what was evidently a very divisive production (the professional reviews on Operabase, etc, and the comments below). Here on this channel we have heard loud applause for the singers after arias and duets. At the first performance, with a double disaster involving that wretched plastic sheet, the director was singled out for vigorous booing. But on Opera Today, Michael Milenski makes a smart remark about a similar designer-led and disaster-dogged performance of 'Ariodante': "The audience indulged Mr. Jones with rapt attention in the second and third acts ... and rewarded him with thunderous boos ... meaning that we had had a very good time and loved every minute and that we did not know what to think." Opera has always gone off like this, it's part of the joy. For my own part, it seems to me perfectly legitimate for a production to look at the characteristic frothy language of the libretto and decide (in effect) - 'OK, 'Fate' and the gods it shall be. Bring 'em on!' I loved the Parcae, the conspirators, even Cleopatra switching glamour wig for animal skull, etc. Changing the mood from love and heroic conquest to death and defeat gave everything an edge of challenge (and takes the libretto at its word.)
Même si elle n'est pas superposable à celle de maintenant, la violence envers les femmes existait déjà ! Les Parques, apparaissant en arrière plan de la scène, décidaient du sort de la vie de chacun : les fils rouges entre-mêlés symbolisent le cours complexe de chaque vie, les rencontres, les croisements, l'interruption ! Lucile R. excelle dans le rôle si difficile de Cornelia (1:41:35 Acte II - Scène 4), mère et veuve éplorée dans ce chef-d'oeuvre qu'est Giulio Cesare !
Le fin amateur que vous êtes, connait peut-être déjà Beth Taylor, jeune chanteuse écossaise dont le registre navigue aisément entre mezzo et contralto et dont vous trouverez quelques vidéos, parmi lesquels, un enregistrement du GIULIO CESARE qui date de 2021, en Suisse, sous la houlette de Andrea MARCON. Carlo Vistoli incarne le rôle titre et Beth Taylor, une Cornelia à couper le souffle. Son "Priva son d'ogni conforto" est d'une beauté déchirante.
Elle s'apprête à interpréter le même rôle au Festival de Glyndebourne dès le 23 juin.
Lucile Richardot est un miracle.
Est-ce par formation, par sensibilité et par intelligence; le soin qu'elle porte à l'équilibre entre le texte et le voix, entre la diction et sa ligne de chant est rare et mérite d'être félicité à sa juste mesure.
Combien sont elles et ils que, tout en étant doués, couvrent - ou plutôt, 'mangent' - de leur "belle" voix, le texte d'airs et récitatifs ?
Is there a cd or dvd of this production?
Danke schön!!! Bamberg
Minute 24:25 Respect for the counter tenor 💯
핸델 주님의 쥴리어스 시저의 경묘한 선율은 언제나 한국인의 가슴속에 스며드는 군요. 핸델 주님 39세의 능숙함이 가득합니다. 쥴리어스 시저의 늪에 빠져 몇 달동안 허우적거리고 있는 이 불쌍한 한국인 교인을 구원하여 주소서 핸델 주님이시여!
Great production!
@dantesasha ::
"Great production" ?
I didn't see any furniture !😒
Thanks for sharing this wonderful production--vocally and visually stunning. A thought-provoking reflection on fate.
Ces costumes sont hideux ! On ne va pas à l'opéra comme à son bureau mais pour le plaisir des yeux (et de l'oreille bien sûr) et se sortir de la grisaille du quotidien !
L'opéra - il est bien de s'en rappeler de temps en temps - est LA forme artistique la plus complexe et la plus riche a avoir été conçue en Occident ; ses racines, remontent au théâtre classique grec et à ses grands auteurs tels Sophocle, pour n'en citer qu'un seul. Les thèmes qu'elle a traité - à l'instar du théâtre, de la littérature et de certain cinéma - sont exactement les mêmes qui nous vivons à notre époque. Le metteur en scène est un interprète comme un autre, qui interpelle le public, suscite e titille son attention et sa curiosité, quitte à devenir intrigant.
On dit et on prétend que l'opéra soit un genre "populaire", là où tout prouve le contraire. Le grand public n'a que des oreilles pour les performances pyrotechniques des soprani et des ténors, comme si on était à la foire.
De surcroit, ce chef d'œuvre de HANDEL est l'exemple parfait et accompli du genre qu'on appelle "opera seria".
Enfin, il y a bien des productions qui optent pour les costumes d'époque, ce qui n'est pas gage de qualité, loin s'en faut et parfois cela maquille la médiocrité de l'ensemble.
Les personnages
Romains
Giulio Cesare (Jules César), contralto
Cornelia (Cornélie), veuve de Pompée, contralto
Sesto (Sextus), son fils, soprano
Curio, tribun, aide de camp de César, basse
Égyptiens
Cleopatra (Cléopâtre), reine d'Égypte, soprano
Tolomeo (Ptolémée), roi d'Égypte, son frère, contralto
Achilla (Achille), général, conseiller de Ptolémée, basse
Nireno (Nirenus), eunuque et confident de Cléopâtre, contralto
Giulio Cesare in Egitto (ou souvent : Giulio Cesare) est un opéra en trois actes composé en 1723 par Georg Friedrich Haendel pour sa propre compagnie, la Royal Academy of Music. Le livret est une adaptation par Nicola Francesco Haym1, du Giulio Cesare in Egitto représenté à Venise en 1675 (texte de Giacomo Francesco Bussani, musique d'Antonio Sartorio).
L'opéra de Haendel est créé au King's théâtre Haymarket de Londres le 20 février 17241. C'est, dès l'origine, un succès et Haendel le reprend en 1725, 1730 et 1732. Avant le xxe siècle, la dernière représentation a lieu à Hambourg en 173
👑 wenn auch nicht Alles eine Kommentar brauche, Madame Devieilhie ist göttlich👸
English subtitles! So welcome
Since the mid '50s - at least - since the following years after the end of WWII, bilions of people must study and speak english for the well-known reasons of the american way of life worldwide supremacy. In Europe, English is everywere and in many professional situations you MUST speak only english.
Sometimes, someone could do the same for those languages - like italian or french or german - that had made the main thing in all western culture as Music, Fine Arts, Theatre, Litérature and so on.
An opera is not a movie. You can still read the libretto. Trust me, it is a nice experience. I hope you'll enjoy it!
she never grows old she always stays in perfect condition she doesn't look old.
Merci ! Merci ! Merci l
masterpiece!
J'aime beaucoup la voix de Francesco Salvadori (dans le personnage d'Achille), baryton italien qui est remarquable !
Voir à l'acte III scène 1 (temps 2:23:02) : c'est le thème de la trahison qui est là... souvent présent à l'Opéra, mais aussi dans la vie réelle !
Récitatif : In tal modi si premia
il mio lungo servir, la fede mia?
Barbaro re, ti pentirai fra poco
d'avermi offeso, andiamo
prodi campioni, e a Cleopatra avanti
offriam le nostre insegne, offriamle il core,
e sia menda al tardar l'alto valore.
[N. 32 Aria]
ACHILLA
Aria : Dal fulgor di questa spada
vuò che cada
umiliato un empio cor;
già non dée soffrir l'offese
che difese
il suo regno col valor.
1:29:00 WOW
핸델 주님의 쥴리어스 시저를 영접합니다, 한국 핸델교 교인 200만명은 주님의 대표작인 이 작품을 매일 영접합니다, 나의 생명 나의 희망 핸델 주님이시여 이렇게 아름다운 선율을 한국인에게 남겨 주심에 한국인 모두는 핸델 주님을 경배합니다, 나의 생명 나의 사랑 핸델이시여 그 영광 영원하소서 !!!
O Franco 😳 sei adorabile 🎉 Che duetto... 🤦 Lacrime sono al miei occhi
🤮🤑🤮🤑🤮🤑🤮🤑🤮🤑👺🤑👺😡💩😡😖😠🤥👹💀🤬😈🤢😤🤥😠😖🤑😡😠💩🤮🤬👺😱👿😞😈😤🤕🤢🤬👹💀🤥😖🤮😡🤑💩🥴😈🤬🥶🤥😱😵😤🤮
Merci, merci! Abonnée à Mezzo, mais pas disponible au Québec. Bravo à tous, et au sublime Philippe.
Bella edizione (malgrado la regia di Micheletto). Finalmente c'è Nireno (ruolo sopresso in molte edizioni) però io avrei assegnato Giulio Cesare a Fagioli e Sesto (che ricordiamo era in origine la Durastanti) e il personaggio è una ragazzino quindi non virile) a Gaëlle Arquez.
Arquez non mi ha convinto. Non la vedo calata nel personaggio e rispetto a Deviehile e a Richardot mi è parsa rigida. Per il ruolo di Giulio Cesare c'è l'imbarazzo della scelta, da Von Otter a Geneaux compresa Ann Hallenberg.
Exacto, para Julio César debieron elegir a un contratenor mezzosoprano habiendo muchos, en este elenco tan bien elegido y todos con mucha fuerza escénica y vocal, Arquez es la única que está por debajo! Una gran pena!!!!
Очень люблю музыку Генделя Некоторые любят улучшить Генделя. И как правило не то.
This is my favourite adaptation I love the creative staging and the expressive acting this is beautiful
Better to just listen to the sublime music….forget the crazy stage antics….the weird tethered Cesare…the incongruent costuming. Perhaps this is Julio Cesare in Hell, or some other alternate reality after their earthly lives. But, again we have the glorious Masters score intact. I recall hearing and seeing my first Cesare at New York City Opera….Beverly Sills, Norman Treigle.
Sorry, but Cesare in New York City opera was nowhere close - no sense of barock music and simply boring.
best rendition of that queens aria at 2: 02: 00
2:57:02
The music, libretto and performances were incredible but I’m sorry I really struggled with the staging for this. It was a bit too out there for me. I think they really overdid it with the naked ghosts and the skulls and it was just a bit laughable in parts when it wasn’t supposed to be. Also so much of it was cut and stupid interpretations were added in.
"I think they really overdid it with the naked ghosts" Those three "ghosts" are the Parcas, from ancient Greek mythology. .
If you read the plot and the whole libretto, you'll maybe understand what is "a bit too out" for you.
Never heard about EROS and THANATOS ?
Nothing is "laughable" here. On the contrary, the stage's director and the singers, serve - all the way - the tragedy, since the first marvelous and breahtless Cornelia's aria "Priva son d'ogni conforto". An opéra is not a movie 😉
@@taf44tt8io Please don’t talk down to me. I have read the libretto and plot. I am an experienced singer and avid opera lover. Handel is a genius and Julius Caesar as an operatic work is incredible. I was criticising the staging and interpretation by this director. Everyone is entitled to their opinion. You need to live and let live. You liked it. I didn’t.
Cleopatra going on a screaming note at the end of all of her cadenzas gets old real quick. Otherwise amazing.
If I were only listening to -- and not watching -- this production, I would say it was one of the best, perhaps even the best Giulio Cesare I had ever heard. The soloists, the choir, the orchestra, the direction -- all superb! The audio quality is likewise.
In all these respects, this production equals, and even surpassses my previous favorite to date -- that by the Glyndebourne Opera, under William Christie, with Sarah Connolly as Cesare, and Danielle De Niese as Cleopatra.
But when I go beyond listening to this production and actually WATCH it,,,,,,,,,,,,,,,,,good lord, it sucks, and it sucks big time. The costumes, set design, and overall acting are simply awful.
I do not mind modern dress or set design -- even in early operas. But those modern costumes and sets just do not work here. And to top it off, they are not even attractive or especially creative modern sets and costumes.
Compare the overall visual appearance of this production with the Glyndebourne mentioned above. The Glyndebourne is unfortunately not available in full here on YT. However there are enough short scenes available here to judge.
And mind you, the Glyndebourne production is anything but "traditional" in costume and set design. But still, they are effective to convey a very definite mood and atmosphere -- specifically a mood of colonialism/imperialism, creating a very clever and impactful analogy between the Empire of ancient Rome and that of Victorian Britain. I love it.
But what mood and atmosphere are conveyed here? I do not know. But whatever else it may be, it is definitely weird.
The weirdness reaches is epitome in Act II, Scene 2, when Cesare sings his aria "“Se in fiorito ameno prato”. What in the world is going here? Cesare is in a room, wandering about covered in party streamers. PARTY STREAMERS, for God's sake! What possible message is being conveyed by party streamers?
But wait,,,,,,,,,,,,,,,there's more. It gets better.
As Cesare stumbles about, covered in party streamers, a bunch of women come walking slowly out. The women are not covered by party streamers. They woman are not covered by anything. They are naked. As I said, I'm no stuffy opera purist. I do not in the least mind nudity in opera -- when and where it fits. But what's it doing HERE -- in THIS scene?? What's it telling us? Nudity and party streamers? What is the message??? That Cesare was indulging in psychedelic mushrooms, or something? Is that the message? Give me a break!
Frankly ,,,,,,,,,,,,,,this whole production might very well have been improved had it been performed entirely in the nude. At least that would have coveted some sort of semi-coherent statement. Keep the nudity -- lose the party streamers. That would be my suggestion.
Anyway,,,,,,,,,,,,,,,, sorry to rain on Maestro Jaroussky's parade. I do sincerely adore him. He's a magnificent vocalist. But this production is a complete and utter dud. Feel very sorry for the folks who actually had to shell out money to attend it. Music = A+; Production = F-.
A very intelligent and entertaining critique of the staging, thanks. (A++). I think you're absolutely right about its utter stupidity and banality. I understand that the originally neutral term of 'Regietheater' is used to describe such productions, now always used in derision. I take it that what Europeans tend to call 'Intendants' are in charge of these critical decisions about whom to appoint as 'stage directors' and that 'mere' musicians like the musical directors/conductors have little to no choice. How absurd. I feel certain a supremely intelligent and utterly tasteful conductor like Jaroussky would never have chosen this production ... but his choice of singers (excepting Fagioli, in my opinion) are second to none. Were I an 'Intendant' I would choose you as the stage director for its re-run!
@@melcadman Thank you so much for your kind words. I'm very flattered by your response to my views. It is very heartening to fond I am not alone in my reaction to this production. I very rarely make comments to YT videos. But this one just drove me over the edge. Your own comments are most incisive, and I have learned a lot from them. Thanks again.
i cannot but totally disagree, with all due respect, with you both. I'm, indeed, usually not a fan of "Regiethaeter" staging, which, most of time, are a diversion, a hostage-taking of the work in the service of a self-centered discourse, a kind of self psychological therapy of the stage director. This one actually reveals the perfect understanding that the stage director had of the characters and of the psychological challenges of the drama. And the vocal distribution is exceptional. On the other hand, I agree with you on your appreciation pf the Glyndebourne production, that I love ver much as well. I have it non DVD and i'm watching it regularly. (sorry for my English, I'm francophon).
@@barytondehautemer Thanks for your opinion. BTW: Your English is perfect. Much better than my French. No need at all to apologize! Based on your opinion, I will watch it again, and I will see if I can identify any of points you make. Happy New Year to you!
@@GeorgetownDude Thanks. Happy new Year to you as well, with a lot of musical experiences.
Dommage pour le premier air de Cornelia - ciselée par Händel, soupir après soupir - que Lucile Richardot aurait sans doute desservie à merveille si seulement le chef d'orchestre - pourtant chanteur expérimenté - lui avait donné le temps. Exemplaire, dans ce sens, reste l'enregistrement de Marc Minkowski avec Charlotte Hellekant dans le même rôle.
Autrement, je propose mes services pour la diction parlée et chantée de l'italien et notamment pour Adrien Fournaison dont la prononciation est bourrée d'erreurs.
Giulio Cesare in Egitto from Händel : c'est une superbe mise en scène antique dans ce théâtre des Champs Elysées à l'architecture Art Déco "néo-gréco-latine" ! Ces 3 Moires ou Parques (car nous sommes à l'époque romaine) en sont la parfaite illustration. Franco FAGIOLI chante magnifiquement, notamment l'aria de la vengeance ! Le poids qu'il met sur la balance d'une des trois Parques (Clotho, Lachesis ou Atropos ?... je ne sais plus) ne semble pas assez lourd, hélas !... A l'interface entre le monde des morts et celui des vivants, le personnage de Sesto est fascinant : Franco Fagioli vit pleinement son personnage dans la musique et les décors : sa voix, son jeu, ses expressions (il semble torturé moralement)... Un très beau moment d"émotion !
Recitatif
Vani sono i lamenti
è tempo, o Sesto, ormai
di vendicar il padre
si svegli alla vendetta
l'anima neghittosa
che offesa da un tiranno invan riposa.
Aria
Svegliatevi nel core
furie d'un'alma offesa
a far d'un traditor
aspra vendetta!
L'ombra del genitore
accorre a mia difesa
e dice: a te il rigor
Figlio si aspetta.
Van vestidos de época, de época imperial....😅
Musique exceptionnelle, interprètes magistraux et mise en scène nulle.
Tout à fait de votre avis, il a même fallu que je ferme les yeux pour apprécier la magie du lyrique et de l'orchestral!😂J'ai raté l'histoire mais ça n'a pas grande importance je n'ai pas l'intention de faire une conférence sur le livret!🤣
@@catherinerichard1090
Il vous reste d'expliquer - à condition d'avoir des solides arguments, voire très solides - le lien entre ;
l'histoire (à laquelle vous ne donnez "pas de grande importance")
le livret - soit le texte, qui l'histoire la raconte avec les codes littéraires qui lui sont propres
et le fait que la mise en scène soit "nulle".
Si vous arrivez à faire mieux que Nicola Francesco HAYM - le mec auteur du livret et qui fut un artiste de très grande envergure - faite nous signe ; on sera ravi de découvrir votre ouvrage.
Stupendo, bravi tutti, Vistoli finalmente riconosciuto come il grande artista che è. La lettura psicologica di Cleopatra eccellente, Fagioli, epurato dalle sue “ingolature” molto bravo anche scenicamente, Salvadori duro e affilato come un uomo del kgb…
Vistoli in Francia è già apprezzato.
Io veramente le ingolature fagioliane le sento tutte, come al solito, purtroppo. Raro trovare un'emissione meno artefatta e paradossale della sua nel panorama odierno. Che fatica sovrumana è ascoltarlo.
@@mucitta
Con Bejun Mehta (o magari Iestyn Davies) al suo posto e una Arquez più avezza al repertorio barocco - o meglio ancora, una Marie Nicole Lemieux - sarebbe stata una produzione leggendaria.
@@mucitta
le ingolature fagioliane
Le famose "fagiolature", servite - a seconda - con o senza carne.
Timing is everything in life, especially, with opera ; not trying to sound philosophical ... but with this, one of the greatest of Baroque Music, its so important to know how unlucky we are in the 21st century.
Just imagine opening nite of this master-creation of music and opera ; envision the two greatest female singers of that time ; try as hard as you can, to form a picture of the magnificent sounds of some of the most virtuoso castratri ; fantasize seeing Handel conducting. We have to visualize so much, we get lost in _this_ unfortunate time.
In this time ::
⭕️ there are no great castratri or female virtuoso singers
⭕️ we are not hearing Handel's master-work as it was heard in 1724.
⭕️ singers cannot, dare not, even try to improvise the singing during a performance.
⭕️ the singers here would not be acceptable to Handel, except, maybe, fagioli. they don't have any virtuoso skills. the "contralto" as j.c., has no depth or power in the lower-range.
⭕️ we not only have to close our eyes to these productions without furniture, we have to close our ears to the third-rate singers who are without even trills let alone other coloratura skills.
If we have to close our senses when listening to opera ... what's the point ❔️
Why naked people always, do they not know how to make a product without it?
Was all that plastic really necessary in Act III?
There is a lot of difference with this creative production from Juilliard School NY. A group of young people at a music/art festival in the desert. Sensitive singing (bel canto); fantastic costumes and a funny, extravagant travesty at the end.
czcams.com/video/vtl8h4uFe30/video.html
Hey Taco: Thanks so much for the tip on the Juilliard production of Atalanta!! It is positively superb!! And -- unlike the dud here -- it demonstrates that "creative", modern staging of opera, even Handelian opera, can be beautiful and effective.
1:24:43 - V'adoro pupille
Orribile regia 😮😮😮😮
OK!🤪
21:16
Is it preproduction rehersal? They wear street clothing. Is there a version with staging on CZcams that i could actually want to watch?
This is a real show, not a rehersal.
Ridiculous stage design.
Yes!
Otra buena opera👍. Otra buena ejecución👏👏. Otra 💩 de puesta en escena.
🤣
Quite astonishing to see that Micheletto not only got inspired from Keith Warner‘s Theater an der Wien production,but literally copied the whole thing… never saw such a shameless theft of someone else’s concept . Wow.
nonton gambar nya gelap apa yg dlihat jelek
Tout compte fait, cette production n'a rien à envier à celles historiques signées Jacobs ou Minkowski.
En climat psychanalytique la mise en scène ne me parle pas...
Agree totally.
À moi non plus !🤣
This is 'Regietheater' at its most pretentious and utterly banal, frequently actively interrupting some of the most beautiful music. Complete compensation though found in Sabine Deveilhe's truly extraordinary singing as Cleopatra, - quite mesmerising musically and technically. Despite the banalities of the staging, her expression and acting was equally compelling. Gaëlle Arquez sings beautifully as ever, though she didn't entirely persuade as Caesar. Franco Fiagoli really inhabits his role with singing that matches the character, even if I find this 'fach' far too fruity and slightly hysterical for my taste. All other parts were played and sung very well, especially Lucile Richardot. Jaroussky and his band were just fabulous too, creating a musical experience greater than any I have encountered before. If only we had a staging to equal this performance, it would count as one of - perhaps THE greatest - ever productions of this opera.
Could not agree more. See my own comments here. Cheers.
*p.s.: learned a new term from your comment: "Regietheater". Thanks!
Nackte Tatsachen; schöne Defragmentierung!
For the love of god, just do it as a concert performance. Spare us the Eurotrash staging.
Quoique minimaliste au possible, la mise en scène vaut toujours mieux que l'horrible réalisation du Jules César de Salzbourg 2012...Par contre du point de vue musical il y aurait encore beaucoup à faire pour égaler Antonini et Bartoli. Mais l'effort consenti ici est louable et le choix des chanteurs est judicieux et leur travail compense la relative inexpérience de P. Jaroussky en matière de direction d'orchestre. Cependant, et après maintes écoutes, il faut saluer le travail orchestral qui vaut largement celui de nombres de ses nouveaux confrères, chefs d'orchestres. Il ne finira jamais de nous étonner.
I believe much of the success of this ground-breaking production should be attributed to the direction/conducting of Philippe Jaroussky, a counter-tenor of unique character and ability, who has rightly taken to conducting and demonstrated his innate artistry, intelligence and capacity either to choose or get the best out of these exceptional singers. What we refer to in the UK as 'stage direction' is utterly trite, banal and the worst possible example of 'Regietheater' I've had the misfortune to witness. How the conductor and singers managed to over-ride this and produce such musically intelligent and simply beautiful music is a credit to them all. As one commentator intelligently and thoughtfully suggests above, the grading for this performance is: Music: AAA+++ Staging FFF- - -
Il faut toujours comparer ce qui est comparable. ANTONINI est un musicien de longue expérience, JARROUSKY fait ses premiers pas à la direction et je trouve qu'il s'en sort bien, certainement épaulé par une brochette d'interprètes de tout premier ordre.
@@taf44tt8io Justement! Antonini n'a pas toujours été chef d'orchestre mais flûtiste à ses débuts. Donc on peut bien le comparer à Jaroussky. Sinon il faudrait comparer uniquement les gens qui ont strictement les mêmes années d'expériences... ??? Autant s'abstenir de comparaisons alors...
@@sheldonbazinga3985 L'exercice de la comparaison - dans tous les domaines - relève de la logique, autrement il perd son sens et son utilité.
Antonini appartient à la génération immédiatement successive aux grands maîtres qui sont les William Christie, René Jacobs, Philippe Herreweghe ou encore John Eliot Gardiner. Ses congénères s'appellent Marc Minkowski ou Christophe Rousset qui ont été respectivement bassoniste et claveciniste aux ARTS FLORISSANTS avant d'entreprendre la direction d'orchestre.
Antonini - comme Minkowski - a par exemple dirigé HAYDN ou MOZART ce qui n'est pas encore le cas de Jarrousky que des grands maître cités plus haut est le "petit-fils" et des deuxièmes est le "fils". (La troisième génération est déjà là, avec par exemple Thomas DUNFORD)
Quant au fait de jouer d'un instrument, ce n'est qu'un détail puisque tout chef d'orchestre maitrise au moins le piano.
Bien à vous.
@@taf44tt8io Vous ne m'avez aucunement démontré que l'exercice de la comparaison relevait de la logique dans votre dernière missive. Vous m'avez exposé des faits, quelque peu étalé votre science, et montré que certains chefs d'orchestres bénéficiaient d'antériorité par rapport à Philippe Jaroussky, "tout neuf" dans ce domaine... Tout neuf? Que non pas... Cela fait plus de 10 années qu'il officie à la tête de l'orchestre qu'il a créé.. Artaserse... Ce qui le place quasiment sur un même plan que les autres chefs cités par vous... Donc, par le fait, nous sommes fondés à pouvoir le comparer aux autres... Mon premier dépôt n'avait d'autre but que de signifier la chose suivante... Il aura beau s'échiner la baguette à la main, il n'aura jamais la notoriété qu'il a obtenu en étant un des plus brillant chanteur Français de son époque. Il va se noyer au milieu de confrères plus doués que lui à ce poste, mais pourra poursuivre une carrière musicale honorable et servir la musique du mieux qu'il peut... Ni plus ni moins... Petit point de désaccord supplémentaire... Ne pas citer Mister Gardiner comme un grand maître... C'est un excité qui ferait bien de se calmer un peu... Ses choix de tempi sont plus que discutables et j'attends le jour où il prendra enfin sa retraite... Même M. Jaroussky "débutant" fait mieux que lui...
2:36:09 ハンニバル
I hate neoterism. The visual new age garbage is so distracting. I'm only listening to it in the backround. Complete nullification of the magnificent original.
placing operas in these modern settings isnt creative when every modern iteration does the same thing its just boring. people in their 30s and 40s could go to the opera regularly and never see an opera in the setting the creator intended and thats a tragedy. most of the people staging these operas are not the geniuses handel or mozart were so they should just stick to the script. if they were we would be seeing operas they wrote instead of them just subverting the works of handel and mozart. the long march through the institutions has been a disaster for music and art. its not a coincidence we are still watching and listening to art funded by the aristocracy and the church and everything funded by our neo-marxist governments, ngo's and art world are mostly ignored due to low quality.
Congratulations to all the performers, the music, singing & acting were all first class.
I didn't understand at all the symbolism / imagery, of the 'background characters' (dead people / premonitions etc.?)
I found it really distracting, & Cleopatras aria with an animal skull on her head was to me simply ridiculous.
Your befuddlement is totally understandable, but understated, to say the least. See my longer review above.
You are a very modest person. Opera is not some kind of elaborate puzzle accessible only to superior intellect who are capable of discerning hidden messages. If yiu cannot enjoy it there is obviously something wring with production.
Non si puo guardare! Una pena! La follia è che premiano pure questo regista…
Io non smetterei mai di guardare questo sontuoso svisceramento delle passioni umane, dettate dall'ebrezza del potere,
E' teatro totale e i cantanti, in certi casi messi a dura prova, ci nuotano come pesci nell'acqua, dando il massimo di loro stessi.
Francesco Salvadori (personnage d'Achille) est remarquable, notamment à l'acte III scène 1 (temps 2:23:02)
Quelle mise en scène affreuse...
Pas d'accord mais chaqu'un son opinion. Personnellement je l'ai bien aimée et c'est ça qui compte. Haters gon' hate.
C'est rien de le dire! J'ai carrément fermé les yeux pour apprécier le reste!😌
@@catherinerichard1090
L'opéra est la forme artistique la plus accomplie qui soit et donc, la plus complexe, car l'équilibre entre tous les acteurs concernés - chanteurs, chef d'orchestre, metteur en scène, décors, lumières etc - est une question d'alchimie. Et le théâtre c'est la représentation de la Vie.
J'ai rarement vu une production où tout le monde est au service des passions humaines et de la perversion du pouvoir, comme celle-ci.
Le désarroi de Cornelia est déchirant. La dépravation de Tolomeo saisissante. On se délecte de l'ambiguïté de Cléopâtre. Chapeau aux trois interprètes. Seule Gaëlle Arquez me semble être un peu rigide, comme si elle n'avait pas encore pu mûrir son personnage, ce qui demande du temps.
@@taf44tt8io Comme vous j'apprécie énormément l'opéra, mais là je suis réfractaire à la mise en scène.Affaire de goût simplement.
@@catherinerichard1090
Si les goûts étaient tous pareils, on s'ennuierait :)
Sublime musique bien sûr - mais la mise en scène inappropriée et prétentieuse est pire qu'on ne pourrait jamais l'imaginer...🤮
Directors still think dressing baroque opera in modern clothes is original while it is already a cliché for at least 40 years. It looks cheap and probably is.
You are very right. Better to listen “closed eyes”
@@mariaesperanza6548 Strange how the modern directors fantasise about all sorts of deep hidden meanings in old opera. A medium of an age when the word "psychology" didn't even exist.
@@christianwouters6764 Yes - such staging is often done either because there's not enough funding or the stage hands are on strike...
@@RollaArtis So it's just a question of time to see a Don Giovanni with the whole cast in their underwear. I already saw a Parsifal with naked flower maidens.
Horrible producción Nos quitan las ganas a los aficionados. Que lástima de tiempos
Horrible travesty of what this opera should be.
Another overblown attempt at replacing the original story with annoying psychobabble and a changed ending. Very distracting and adding nothing of worth to the original. Some odd choices of singers sesto and cornelia didnt appear well matched for their duet - both didnt appear ideal for their roles - I love Franco Fagioli in every other role Ive seen him in, but this role didnt seem to suit his voice. Musically it was generally pretty good, but a lot of the stage 'business' I found pointless and distracting. Cesare was beautifully sung.
Im unsure why this type of staging still exists its not 'cutting edge' its all been done before, including the pointless nudes floating around. If something doesnt add value to the original opera but distorts or changes the original meaning/story (I know there isnt much in Handel) it shouldn't try to pass itself off as that opera. Oops! a bit of a rant - sorry.
I concur with your comments. Please see my own here, and tell me what you think.
Also,,,,,,,,,,,,,have you ever seen the Glyndebourne production of Cesare? It, too, is a "creative" staging, but in my opinion -- unlike this one -- it works well.
If only the intelligent and discerning public like ourselves could have some influence and get rid of this banal and pretentious drivel of 'Regietheater', we could go back to enjoying opera. Your comments couldn't be sharper, more accurate or amusing. Thanks.
@@melcadman Many thanks to you. And a very Happy New year!
Посмотрела постановку. Да ..некоторые лучше слушать .Ну зачем Цезаря убили ?
Потому что "всё проходит", все умирают, получился спектакль о тщете амбиций всех сильных, красивых, пытающихся преуспеть - что это всё не так уж и важно.
Das war nicht gut; das war SEHR GUT! Gleich nochmal!
Musique et chant magnifique et mise en scène à deux balle, moche,moderne et donc nase
Je n'ai pas trop aimé Jules César!
Бомжи в бане. Всё же извращения неизбежно пожирают мозг.
@@ilyamurom Уже который год одинаковые серые постановки в массе. Европа хочет шагать строем, это плохо кончится.
Вам не нравится это рассказ про жизнь и смерть человека? Каждого из нас?
"Ensemble Aratoires" ARATOIRES ??
Cela devient une très mauvaise - mais vraiment une très mauvaise et navrante habitude - que cette NEGLIGENCE qui abonde désormais dans l'ensemble de la "communication digitale", et ce quelque soit l'outil !! Je me réfère à la présence constante, systématique et quotidienne d'erreurs de grammaire et/ou orthographe, qui se traduisent souvent par des "perles" comme celle-ci !!!!! Des énormités dont personne se soucie, ou presque !
Le nom correct de l'orchestre fondé par Jaroussky est ARTASERSE, le terme ARATOIRE indique tout autre chose !!! Il faut vraiment y mettre du sien pour l'écorcher à ce point et - autre usage rentré dans les mœurs - NE PAS vérifier le texte avant de valider !!! Et dire que vous êtes la prestigieuse maison du TCE, qui a produit le spectacle !!!!
Chapeau mesdames et messieurs, mes compliments !!!!!!!!!!!!!!!!!!
Je suis tout à fait d'accord même si je pense qu'il s'agit "peut-être" d'une faute dû à une correction automatique
@@clercflorian4637 Cela n'excuse en rien le manque de vigilance et de relecture, surtout venant d'une institution si prestigieuse.
Au risque de passer pour certains par un "psycho-rigide", de ces erreurs de frappe - dus à la sempiternelle rengaine du "vite et bien" - ont en voit tous les jours et ils n'épargnent personne, même pas la presse dite de "qualité". Cela est déjà rentré dans les mœurs et que dans des nombreux cas il y ait une perte de sens du propos, n'inquiète personne.
Mimo udziału znanych śpiewaków, inscenizacja rozczarowuje.. Franco Fagioli źle współbrzmi z Lucile Richardot . Sam zamysł inscenizacyjny - wydumany jakiś i bez polotu. No, słabe to jest....
A budget production. Nothing much happens on screen, just the bare minimum. Opening chorus was cut! Other music thrown in. Rubbish production.
Let's all modernize art into extinction. Oops we already did.
🥴😈🤬🥶🤥😱😵😤😵🤥😱😵😤😈🤬🥶🤥😵🤢🤑🤕🤒👺💀👹🤑🤕🤒🤢😵😱😤😈🤬🤥👺💀👹🤧🥴😱🤢🤑🤑😱😈🤕🤕🤒💀🥶👺🤬💀🥶👹😱🤑😈🤮
3:06:27
🤥😖😠😈😞🤕😡🤢🤑🤬😱👺👹🤬💩🤑💩💀😱👿😈🤡🤧🥴🤬😈🥶😱🤥😵😞😤😖🤥😠😡🤕🤑🤬💩👹👺👿👹🤬💀🤮💩😱👿👺😡🤑👺💩😱🤕👿👺🤮
🤡🤡🤡🤡🤡🤡🤡🤡🤡🤡🤡🤡🤡🤡🤡🤡🤡🤡🤡🤡🤡🤡🤡🤡🤡