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เข้าร่วมเมื่อ 26 ต.ค. 2016
Stravinsky: The Rake's Progress [in Swedish] Ingmar Bergman's Production (1961)
Michael Gielen, Royal Swedish Orchestra
(Recorded 7th May, 1961, Royal Swedish Opera, Stockholm)
Father Trulove - Arne Tyrén
Anne Trulove - Margareta Hallin
Tom Rakewell - Ragnar Ulfung
Nick Shadow - Erik Saedén
Mother Goose - Kjerstin Dellert
Baba the Turk - Kerstin Meyer
Sellem - Olle Sivall
Madhouse Keeper - Erik Sundquist
The production was by Ingmar Bergman. The stage designs were by Birger Bergling. The costumes were by Kerstin Hedeby. The Swedish translation was by Östen Sjöstrand. The opera was divided into two acts instead of three.
===============
Later that year, Stravinsky himself attended a performance. His assistant Robert Craft described the occasion in his diary:
"As we enter ... I.S. receives a prolonged standing ovation. The stage apron has been extended over the orchestra pit, neutralizing the proscenium arch. Moreover, the deepest stage depth is exploited throughout, most effectively at the end of the brothel scene, where the actors freeze in silhouette in the far background. A Brechtian poster, "Rucklarens väg", is used as a between-scenes drop, replacing the curtain and emphasizing the episodes as a progress of pictures in Hogarth's sense. The groupings are Hogarthian, too, and in some of the pictorializations ... Hogarth is openly imitated, most effectively in the scene where Mother Goose, bottle in hand, falls backward on her couch, a veritable "tableau vivant" of the original. The sets are changed not in the dark but before the eyes of the audience and as a coordinated element in the movement of the play. Thus "London" is lowered from the sky and populated with tradesmen and townspeople during the trumpet solo introducing the street scene. This is the most attractive set but it is also the last that can be described as English in color and style of decor. After it, the costumes become more Swedish, gray and black gradually predominating over pink and orange, but this more muted and somber palette also follows the tenor of the play.
In spite of egregious musical cuts, wrong tempi, and a few places where Bergman is at loggerheads with the book, I.S. is more moved than I have ever seen him by any performance of any of his theater works ... "Tom's decision to marry Baba is convincing", he says, "and I want to thank Bergman for that. And for so much more besides. When Tom leaves for London, Anne weeps, Tom starts to go to her, and Trulove motions him back and goes to her himself: I believed in Trulove's gesture. Another thing: in the auction scene, the singing of Tom and Shadow from different places in the audience does bolster the idea that they are "at large". These small points, and many more, help to establish the credibility of the play". Best of all, Bergman's groupings are "natural" without infracting the conventions of opera: the arias and the actionless ensembles ... are sung to the audience, stage front. The difference is that Bergman's singers act, move their bodies and use their eyes, as singers are rarely trained to do.
At the end of the opera, I.S. receives a long standing ovation. I am bursting with pride for him myself and thinking of all those terrible performances of the opera in Geneva, New York, etc."
===============
0:00:00 - Announcement
0:04:00 - Act 1: Prelude
0:04:42 - Act 1: "The woods are green"
0:09:40 - Act 1: "Here I stand"
0:12:25 - Act 1: "Tom Rakewell?"
0:20:08 - Act 1: "Farewell for now"
0:25:11 - Act 1: "With air commanding and weapon handy"
0:26:30 - Act 1: "Come, Tom"
0:31:40 - Act 1: "Love, too frequently betrayed"
0:35:36 - Act 1: "The sun is bright, the grass is green"
0:38:17 - Act 1: "No word from Tom"
0:43:48 - Act 1: "I go, I go to him"
0:46:50 - Act 1: "Vary the song, O London, change!"
0:52:46 - Act 1: "Master, are you alone?"
0:57:17 - Act 1: "My tale shall be told"
0:59:38 - Act 1: "How strange!"
1:05:21 - Act 1: "Anne! Here!"
1:08:41 - Act 1: "Could it then have been known"
1:15:02 - Announcement
1:18:12 - Act 2: "As I was saying"
1:24:19 - Act 2: "Oh Nick, I've had the strangest dream"
1:30:14 - Act 2: "Ruin! Disaster! Shame!"
1:32:54 - Act 2: "Aha!"..."He's here! The auctioneer!"
1:38:15 - Act 2: "Sold! Annoyed!"
1:44:31 - Act 2: "I go to him"
1:47:00 - Act 2: Prelude to the Graveyard Scene
1:49:29 - Act 2: "How dark and dreadful is this place"
1:54:00 - Act 2: "Very well then, my dear and good Tom"
2:03:13 - Act 2: "I burn! I burn! I freeze!"
2:06:54 - Act 2: "Prepare yourselves, heroic shades"
2:09:59 - Act 2: "There he is. Have no fear"
2:12:22 - Act 2: "In a foolish dream"
2:16:13 - Act 2: "Gently, little boat"
2:22:25 - Act 2: "Where art thou, Venus?"
2:27:50 - Epilogue: "Good people, just a moment"
===============
"The Rake's Progress" is an opera in three acts by Igor Stravinsky, with an English libretto by W. H. Auden and Chester Kallman. The libretto is based on a series of paintings by William Hogarth. It was first performed at the Teatro La Fenice in Venice on 11th September, 1951, with the composer conducting.
(Recorded 7th May, 1961, Royal Swedish Opera, Stockholm)
Father Trulove - Arne Tyrén
Anne Trulove - Margareta Hallin
Tom Rakewell - Ragnar Ulfung
Nick Shadow - Erik Saedén
Mother Goose - Kjerstin Dellert
Baba the Turk - Kerstin Meyer
Sellem - Olle Sivall
Madhouse Keeper - Erik Sundquist
The production was by Ingmar Bergman. The stage designs were by Birger Bergling. The costumes were by Kerstin Hedeby. The Swedish translation was by Östen Sjöstrand. The opera was divided into two acts instead of three.
===============
Later that year, Stravinsky himself attended a performance. His assistant Robert Craft described the occasion in his diary:
"As we enter ... I.S. receives a prolonged standing ovation. The stage apron has been extended over the orchestra pit, neutralizing the proscenium arch. Moreover, the deepest stage depth is exploited throughout, most effectively at the end of the brothel scene, where the actors freeze in silhouette in the far background. A Brechtian poster, "Rucklarens väg", is used as a between-scenes drop, replacing the curtain and emphasizing the episodes as a progress of pictures in Hogarth's sense. The groupings are Hogarthian, too, and in some of the pictorializations ... Hogarth is openly imitated, most effectively in the scene where Mother Goose, bottle in hand, falls backward on her couch, a veritable "tableau vivant" of the original. The sets are changed not in the dark but before the eyes of the audience and as a coordinated element in the movement of the play. Thus "London" is lowered from the sky and populated with tradesmen and townspeople during the trumpet solo introducing the street scene. This is the most attractive set but it is also the last that can be described as English in color and style of decor. After it, the costumes become more Swedish, gray and black gradually predominating over pink and orange, but this more muted and somber palette also follows the tenor of the play.
In spite of egregious musical cuts, wrong tempi, and a few places where Bergman is at loggerheads with the book, I.S. is more moved than I have ever seen him by any performance of any of his theater works ... "Tom's decision to marry Baba is convincing", he says, "and I want to thank Bergman for that. And for so much more besides. When Tom leaves for London, Anne weeps, Tom starts to go to her, and Trulove motions him back and goes to her himself: I believed in Trulove's gesture. Another thing: in the auction scene, the singing of Tom and Shadow from different places in the audience does bolster the idea that they are "at large". These small points, and many more, help to establish the credibility of the play". Best of all, Bergman's groupings are "natural" without infracting the conventions of opera: the arias and the actionless ensembles ... are sung to the audience, stage front. The difference is that Bergman's singers act, move their bodies and use their eyes, as singers are rarely trained to do.
At the end of the opera, I.S. receives a long standing ovation. I am bursting with pride for him myself and thinking of all those terrible performances of the opera in Geneva, New York, etc."
===============
0:00:00 - Announcement
0:04:00 - Act 1: Prelude
0:04:42 - Act 1: "The woods are green"
0:09:40 - Act 1: "Here I stand"
0:12:25 - Act 1: "Tom Rakewell?"
0:20:08 - Act 1: "Farewell for now"
0:25:11 - Act 1: "With air commanding and weapon handy"
0:26:30 - Act 1: "Come, Tom"
0:31:40 - Act 1: "Love, too frequently betrayed"
0:35:36 - Act 1: "The sun is bright, the grass is green"
0:38:17 - Act 1: "No word from Tom"
0:43:48 - Act 1: "I go, I go to him"
0:46:50 - Act 1: "Vary the song, O London, change!"
0:52:46 - Act 1: "Master, are you alone?"
0:57:17 - Act 1: "My tale shall be told"
0:59:38 - Act 1: "How strange!"
1:05:21 - Act 1: "Anne! Here!"
1:08:41 - Act 1: "Could it then have been known"
1:15:02 - Announcement
1:18:12 - Act 2: "As I was saying"
1:24:19 - Act 2: "Oh Nick, I've had the strangest dream"
1:30:14 - Act 2: "Ruin! Disaster! Shame!"
1:32:54 - Act 2: "Aha!"..."He's here! The auctioneer!"
1:38:15 - Act 2: "Sold! Annoyed!"
1:44:31 - Act 2: "I go to him"
1:47:00 - Act 2: Prelude to the Graveyard Scene
1:49:29 - Act 2: "How dark and dreadful is this place"
1:54:00 - Act 2: "Very well then, my dear and good Tom"
2:03:13 - Act 2: "I burn! I burn! I freeze!"
2:06:54 - Act 2: "Prepare yourselves, heroic shades"
2:09:59 - Act 2: "There he is. Have no fear"
2:12:22 - Act 2: "In a foolish dream"
2:16:13 - Act 2: "Gently, little boat"
2:22:25 - Act 2: "Where art thou, Venus?"
2:27:50 - Epilogue: "Good people, just a moment"
===============
"The Rake's Progress" is an opera in three acts by Igor Stravinsky, with an English libretto by W. H. Auden and Chester Kallman. The libretto is based on a series of paintings by William Hogarth. It was first performed at the Teatro La Fenice in Venice on 11th September, 1951, with the composer conducting.
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I often wonder how Rysanek ever had an international career. She spent half the time searching for the correct pitch, and the other half looking for places to scream for dramatic effect. Nilsson, in my opinion, sounds far better in the Leinsdorf recording; I loathe the Solti-Culshaw technicolor extravaganza. Nobody can touch Flagstad though, truly the greatest Wagner singer. Behrens and Jones were quite marvelous in their day, but with their well-known vocal problems. In modern times, I’ve enjoyed onstage James Morris, Kaufmann, Westbroek, Blythe. Ah, we can go on forever!
Amazing document! Thomas and Adam were always reliable singers. Silja has always been a compelling artist, but it can be argued that many of her roles were very poor choices for her voice. Her Hojotohos are rather good because she was a lyric soprano. But the Todesverkundigung goes almost down to contralto territory, and her voice simply sounds like a teenage girl. Still a fascinating performance though.
J'aimerais savoir qui est Escholzia...❤❤
Yikes, not the blackface era 😬
Eh ahí un heldentenor, no la grosería engolada de estos tiempos.
Does anybody know how to find the libretto to this version?
クナッパーツブッシュのトリスタンとイゾルデのこの録音を聴いていて、遙か昔の少年時代にこの曲聴いた時の甘酸っぱいような青春の息吹の感覚が不意に蘇ってきました。今聴くと当時の受けた感覚と同時に切ないようななんとも言えない気分も含んだ思いがこみ上げてきて、心を揺さぶりました、これがこの曲のいう愛の死なのかな？ ちなみに若い頃聴いて感動したのはフラグスタートとフルトヴェングラーの録音です。
15:13 how do I mark
I've watched this 7 times over the last week Mozart is a master
I really like salminen's Wotan!!!
DIVINE
19:03 still i felt hos song mpzart rules
This is awesome story
Nobody sings this music as well as Emanuel "Manny" List did. But Pinza's rendition is highly creditable, with good command of the deep stuff and an Italian accent not overly powerful.
22:15 I feel that
17:24 this is ❤😮
If only they recorded the full thing…
Coelho sings „Idol mio“ so beautifully
Dynamo brought me here 🤣
Thanks for sharing. Duel: Salieri - Mozart 7.02.1786., Schönbrunn. Emperor Joseph II, who liked to organize competitions between composers and operas, for the "Festival in Honor of the Governor of the Netherlands" ordered one-act comic operas on the same theme: "Theatrical Backstage" by: Salieri and Mozart. Mozart - German libretto by Gottlieb Stefani - "Der Schauspiel Director", and Salieri - Italian libretto by Giambattista Casti - "Prima la musica e poi le parole". In Salieri's opera Eleonore was sung by the famous Anna Storacci and &. Salieri's work won and proved the superiority of Italian buffo over German Singspiel. Mozart remained on the level of Gassmann's "Opera Serie" in 1769. In "First Music and Then Words" Salieri improved Gassmann's satire on capricious singers and impresarios and & - now it is "divertimento teatrale" - the creative process of the birth of opera; conflict of topos: buffo and opera series, conflict of music and drama. In the sea of ideas Salieri gives - the embryo idea of the Queen of the Night, the embryo idea of Papagena... Magic Flute 1791., is a "mosaic" created from musical ideas: Wranitzky: "Oberon, Koenig der Elfen" 1789.; Soler: "L'arbore di Diana" 1787. "Der Stein der Weisen, oder die Zauberinsel"1790. (The Philosopher's Stone, or the Enchanted Isle) is a singspiel in two acts, jointly composed by Johann Baptist Henneberg, Benedikt Schack, Franz Xaver Gerl, Emanuel Schikaneder, and Wolfgang Amadeus Mozart in 1790. The libretto was written by Schikaneder. The opera has several important parallels to Mozart's The Magic Flute, which premiered a year later.
Nice to see The Magic Flute in English ! Greetings from Austria 😊
Acting good, singing great, set- awful!! In fact almost no set at all.
Dynamo
Tamino got lost in a forest. So, where are the trees?
Furtwangler, Bohm, Solti = YES Goodall = NO Listen to the great recordings!
Giulini, Krips, Mitropoulos = YES Ostman = NO Listen to the great recordings!
Keilberth, C. Kleiber, E. Kleiber, Furtwangler and Jochum = YES Harnoncourt = NO Listen to the great recordings!
The three boys are really good
Fantastic! Do you know if La clemenza di Tito a couple years later was recorded too?
29:08 this is no music anymore ....... this is something I wanted to hear since my first seconds on earth, and now I am terryfied on this unbearable beauty
15:19 this is not Glenn Gould's prudery, this is a real battle for essential things.
It is a horrible idea to translate the text without listening. This is especially true of Bergman's film, which is a peek at the performances, but they sing in Swedish.
O save me instead Zu Hilfe? Ohhh noooo...
1:01:41 I'm sorry I was used to the cartoon version of The Magic Flute with Papageno's lyrics of "Very well, what the hell... Nothing ventured, nothing gained!" when trying out the magic bells for the first time. I wouldn't accept any other translation 🤣🤣🤣
❤❤❤
Så vackert ❤
Is the conductor chewing gum?
English translation is next level, Adrian Mitchell is credited in the description
Yes....directed by Ingmar Bergman!! Thanks! Being a native and a lifelong Bergman fan, I've heard some about this production but never thought I was going to be able to listen to it!
❤❤❤❤
So much to admire. First, the B.B,C's decision to broadcast what was then an obscure Mozart opera, Ok it's a mono recording and the translation is a bit clunky. But to listen again to the well loved singers has given me a wonderful trip down memory lane, Thank you,
¡¡¡¡Esperando con ansia la versión inglesa de Madama Butterfly!!!!🍺🍺🍺🍺🍺🍺🍺
Kleiber, the Greatest of all time, makes me cry and happy at the same time......Thank you Carlos
Truly, Flagstad remains unsurpassed, even by the great Nilsson.
Very nice translation
…there hasn’t been a GL ever since, not even close. A gift from heaven still loved by the world. A formidable cast with Maestro Böhm in front, Master of Mozart. Mi piace moltissimo
super!
I was in the chorus of Götterdämmerung with the ENO about 10 years later - same wonderful singers - Goodall was about 80 years old, conducting an opera whose first act is longer than the whole of Tosca! An amazing experience!
I like Tony Blair he was a good prime minister for Great Britain the way he served his country.
it's beautiful but gosh Hofmann was a bad singer....