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Langridge could act as well as he could sing. He is under-represented on YTube and what on earth happened to the Birtwistle Mask of Orpheus tapes? To me, Philip Langridge remains THE Orpheus and Howarth the perfect conductor. The composer saw to the electronics and cut them way back after much thought. The NMC records issue with Davis, Brabbins and inferior singers do not even approach being present at the Coliseum.

Still after all these years, can't be beat! I still have a poster on my wall of this production, with these two wonderful singers.

I think both these comments are right. The DVD is among my most prized possessions

Stratas was probably rhe best actress of any opera singer not named Callas.

I love this great scene, especially in this production with these two beautiful singers.

Such a beautiful mezzavoce! With an awesome instrument! ❤

Tremendous

An armour is a powerful tool in a film, as can be movements and walking. I find the manner they are assigned to Orest here not helpful to visualise the story of this encounter of siblings which is given so much nuance by the music. In addition, when looking at the way Fischer-Dieskaus' armour has been changed, one cannot but remember that Friedrich, the then head of Deutsche Oper Berlin, seemed very keen to promote his wifes, Karan Armstrongs career, whilst Fischer-Dieskau wanted to sing with his wife in what had been one of the main places of his unique career. On a staging of Figaro by Friedrich, Fischer-Dieskau was asked by a friend why he was so far in the back, and answered that, in his contract, there was an ability to withdraw if he was demanded terrible things to be done, which was not the case her. Interestingly, in a later performance Böhm is said to have asked Varady why she was in the back, and got the answer "this is how Prof. Friedrich wanted it", to which Böhm mumbled: "come here, this is how Mozart wanted it". On what the main idea of this film could have resulted in, of what would have been more up to Friedrichs teacher Felsenstein, just imagine Rysanek would have made clear when and how exactly Elektra understands her brother is talking to her - the way it indeed looks, she, at this very moment, in opening and closing her mouth at this very moment, could als be preparing to sing.

Böhm's senile conducting is so sluggish

The finest piece of music ever written or sung

the orchestral writing is so amazing... sort of reminds me of a strange Purcell ground.. …. thank you v much for posting. Saw the ENO 2023 run… so good I went again a week later.

Luhrmann deployed Brecht’s V-Effect judiciously. But in his hands there was no alienation, nothing even remotely didactic. No shifting from the representational to the presentational at the drop of a stitch. I’d been living in Italy for years and this was the first opera i saw on my return in 1990. I lived in Firenze . I am Italian, so i tear up at the drop of a soufflé. When Hobson launched into O Soave Funciulla i WEPT. Leonard Bernstein recorded La Boheme with the Orchestra della Academia di Santa Cecilia using young, unknown singers and it was a disaster. It was also in concert form. Hobson and Barker were sensational. Hobson looks HOT in that leather jacket 🔥 And importantly, he remembered to ACT. Barker voice was quite perfect. And their dictation was excellent. . Barker went on to sing some glorious Richard Strauss and her Janacek (directed by Armfield!) was sensational. My introduction to opera was Lakme with Dame Joan Sutherland when I was 12. Later came, Norma, Hoffmann, The Merry Widow (in the concert hall). These are seared into my memory. As are Elizabeth Connell’s Lady Macbeth and Abigaille in Kosky’s Nabucco , a production that made the excesses of today’s “regietheater” look positively mild. Since 92 Jim Sharman’s Cosi Fan Tutte, Don Carlo, Simon Boccanegra were unforgettable. For what it’s worth La Boheme and recently The Tales of Hoffmann are in my view the 2 greatest staged Sydney operatic experiences of the last 30 years. Parsifal and Andrea Chenier were not experiences, they were EVENTS. Music making of the highest order. For the record, I cried just now rewatching . This La Boheme, 30 years later, doesn’t come off as quaint or dated. It was modern then and remains modern today. Which makes it a CLASSIC. I hope we all realise how privileged we were to have experienced it live. And in 30 years time we will be saying the same about La Boheme, Jessica Pratt’s Lucia and her thrilling role(s) in Hoffmann. In fact, i would argue that it is superior to the Salzburg production of La Boheme conducted by Daniele Gatti, with Anna Netrebko and Piotr Blechacz. I found Netrebko’s Mimi beautifully acted, but not suited to her vocal “fach” at this stage of her career. 20 years ago yes. Blechacz was insanely great.

❤❤❤❤

Se parece a la voz de Jussi Bjorling. Guau!

Unfassbar…

Das Beste was Musik kann.

It's been many years since I viewed this production. I value it so much more now. Thank you.

Sublime

Ich möchte wissen, wie Richard Strauss auf dem Klavier diese Szene gespielt hat.

10:52. I keep telling myself: "she's gonna die, don't get involved". But I am that already,; my eyes well-up.

Chills! His very face, worn by the mental agony of his life, conveys all of Grimes. And then the voice, perfect for the role. Thank you!

Wow. No applause after the Che gelida manina aria. Or after Mimi's responding aria as well. A well trained audience.

Genius !

I have attended two performances of 'Peter Grimes' with Vickers. For me his is the definitive portrayal of Grimes. He is unforgettable in the role, received to thunderous acclaim. Britten was said to not be too keen on his portrayal, but for me Vickers perfectly characterized the tortured soul.of Peter.

I feel like Vickers plays his own concept of "insanity" more than he plays the scenario and the words themselves. For me, Grimes is rational here -- it's the world that's gone mad, not him. He has an accurate appraisal of what's going on and how he's being/about to be treated. Every line can be connected to a specific thought or flashback and for me there's sense in the order. I don't think Vickers sees it that way. I think the way he slows the lines down is good, it makes the text more emotional than the quick way Pears tends to go through it and I like how clear his text is, whereas Pears is like slurring some of the words together. But Vickers gives so much emphasis to each word rather than giving clarity to each thought that Grimes has, each sentence he says. It makes the scene less clear overall. Grimes is a hard role to make a through line out of, which is a problem with the piece itself. I don't think the overall interpretation here has more sense than Pears' interpretation, but Vickers has a lot of interesting ideas and finds more/different emotion in the scene and I also think it's brave of him to interpret the scene in his own way instead of following expectations

Still perfect. Must have been very sweaty for David Hobson wearing what appears to be a leather jacket AND a purple bathrobe on top of it.

The greatest tenor of the last 60 years

💚 Cheryl Barker.⭐ 💙, who's now Dame Cheryl Barker. Indeed a wonderful Cio Cio- San / Butterfly🦋. Greetings from Portugal, especially to those Down Under.🌻🌞

This feels kinda gay

Veri gud

She was a wonderful Elektra.

Thank you for the video.

Impresionante está versión.

Wunderwar

Nuanced, fabulous voice, but in terms of character, surely too much of an operatic scena and less about the essence of Grimes (though there 's more than one way of playing it).

Genius!

Oh my goodness it really is the most beautiful aria ever.

Thanks!

I saw Vickers three times...one of the most moving performances I ever saw - to me he ruined Grimes...No one has ever equaled him in the role. Pears was nothing compared to Vickers.

Just look at him! Wow! The sound and control.... amazing!

I saw and heard Vickers in person twice, each time in Chicago: Florestan in 1981 and Parsifal five years later. His stage presence, intensity and voice were overwhelming. I think it was Herbert Breslin who once said Vickers' voice made him think of "an iron column that weeps tears." Damn straight.

superbe

Rodolfo's part in Che Gelida Manina always gets me emotional. But this... Outstanding.

This is the only opera I have ever watched from start to finish. David Hobson gives an amazing performance. The whole ensemble were on top form too. It’s difficult to watch other versions now. The great Pavarotti had the best voice, but couldn’t act. Everything about this production is first class

The orchestra was somewhat overpowering; No vocalist can overcome so many instruments played at full volume, fortissimo. She must have a truly powerful voice, to have projected so well against such odds. a beautiful rendition of Un Bel....Kudos to her!

LIBRETTO: www.opera-arias.com/tippett/king-priam/libretto/

Bravo.

Now the Great Bear and Pleiades where earth moves Are drawing up the clouds of human grief Breathing solemnity in the deep night Who can decipher In storm or starlight The written character Of a friendly fate As the sky turns, the world for us to change? But if the horoscope' s bewildering Like a flashing turmoil of a shoal of herring Who can turn skies back and begin again?

It's strange that there is no audience response to Rodolfo's big area.

What a nuanced and moving performance. Bravo! Vickers is a fantastic Grimes, and this opera is absolutely brilliant.