you are absoultly right… from a German point of view, I never expected that for a russian production… thank you for your positive review …by the way I understand - what is amazing - every word
There are too many reasons a person might "like" or "dislike" this to conclude that a thumbs up signals approval of the staging. I have no intention of watching it but I'll give it a thumbs up for the musical performance.
Why I should see this opera? Strauss sounds post-romantic compositor with mutilated harmony, a lot of dissonances. I didn't like Salome, in comparison Lulu and Wozzeck of Berg sound refined. Anyone wants to challenge this opinion?
This is, by far and large, the best living version that I have seen. It is completely superior to others, with conductors and singers immersed in the so called star system -Solti, Böhm, Karajan, Levine and so forth- and singers such as Birgit Nilsson, Plácido Domingo, René Kollo, Astrid Varney, etc. Therefore I enjoy this incredible performance any time I have the opportunity to watch and see it in this absolutely unbeliable porodution.
It is absolutely incredible the way these Russian singers sing and pronounce the German language. It looks as if they were born or educated in some German college or university. CONGRATULATIONS AGAIN
I saw this production on tour in Scotland. I sat at the front on the far left. The front row curved and this allowed me to see whole orchestra through the entire length of the pit. At one point I saw a bassoonist look to his fellow bassoonist. He looked at Gergiev and then gave his colleague a look of complete and frustrated puzzlement. His colleague responded with a shrug and a smirk. They did not seem convinced by the maestro.
I can't imagine how it's possible to follow Gergiev in this EXTREMELY complex, intricate music. The orchestra obviously has learned to deal with it, and they are SUPERB. There's more transparency and detail here than in any other recording I've heard..studio or live (though the Wegel/Frankfurt is darn' good). LR
I too saw this at the Edinburgh Festival. With any production of this work, there will be things that might be better but I, too, liked it. Not as much as the Hartmann one at Covent Garden in '69 and '75 but - what a piece to take on tour! He always conducts with a toothpick and they must get on with it. R
Wait ... pretty stunning singing in all five major roles ... a well-trained orchestra that is nearing Kleiber-Bayern levels of in-sync-ness ... a conductor I know as a very safe pair of hands whom I'd not necessarily expected to suit my taste for Strauss conducting so well ... a production I actually want to watch and keep watching? I'm dreaming, right? Good thing at least it's not uncut or I'd be drooling from my mouth right on top of CaptainBohnenbrot right below me :) Thank you EuroArts (and your channel) - you rarely disappoint me, but video's a treat to me, plain and simple :)
"Die Frau Ohne Schatten" has always been my favorite Richard Strauss opera. I loved this production. The onerous symbolism overlain onto the plot is a turnoff for many people, but for this work, my focus has never been on the tightness of the story and narrative, as much as on the luminous, supremely beautiful music, as well as the near-miraculous ability of some singers to make it through the role of the Dyer's Wife. Rarely have I seen anyone cast in the role of the Dyer's Wife who truly lives the role as Olga Sergeyeva does in this performance. She is so adept at feeling and showing the frustrations and adversities felt by Barak's wife that even with the suspension of disbelief required for this work, none is needed for this singer. She is COMPLETELY believable. She has an occasionally screechy or warbling vibrato but I still enjoyed her portrayal of her role as I did all other major roles in this performance. Although I have been a pianist (as an avocation, not a profession) for many years, and have loved and seen many operas, no doubt there are other commentators who are better equipped to argue the merits of this production vs. the intent of Strauss and von Hoffmansthal. I cannot disagree. Generally, I'm fed up with directors taking extreme liberties with the composer's and librettist's intent(s) and completely veering off into their own self-serving egomaniacal fantasies. I cannot dispute that this is true to some extent in this performance, but not nearly as whacky as in many other opera productions from the likes of, say, Peter Sellars (ugh). Personally, I can tolerate some such deviations as long as the sum total of the performance rings true. I remember that several years ago, someone posted a complete 1978 performance from Stockholm, with Leonie Rysanek and Birgit Nilsson, but at some point the video must have been taken down. It was either from a copyright strike, a personal decision to remove the video or possibly that the channel owner may have simply taken down the entire channel. It's a shame. That performance really does adhere more faithfully to Strauss and von Hoffmansthal. Nonetheless, as previously stated, I loved this production and thank you for posting this !
Completely agree with you about the Dyer's Wife; she is amazing. Barak is wonderful, as is the Nurse..she REALLY projects the combo of sinister, manipulative and charm essential to this most demanding role. I LOVE the Act II Scene 1 "feast" scene ("Was ist du deine Rede") with the kids; it's the sort of thing that I initially recoil from...but this works brilliantly. LR
This one of the most gorgeous, beautiful and strange versions of this so extravagant and outstanding operas. The singers, it seems to me, are all Russians, probably not very known in the so called West (is or was Russia or the extinct URSS sometime part of the Far East?), but absolutely magnificent. I Have seen this opera sometimes in New York and London and I have also many recordings and have seen some videos of Die Frau, but never have I had the enormous pleasure given by this production conducted by the the great Valery Gergiev.
I am always puzzled when productions like this, take a rare gem and turn it into something that is better heard than seen, because their vision of the magnificent work is clouded by their need to make a statement.
I quite agree. Mr.Kent as so many stage directors today considers that we should not dream when we go to the opera or the theater or watch a ballet. We are stupid, intellectually void animals and it is his duty to educate us! This opera is a legend which enhances the bestial motives of the nurse in contrast with the love of the empress for her husband and her respect for the Barak's wife who is trying to get a better life but in the end realize that she's too in love with her husband and aiming to high involves many risks and uncertainties. All this should be presented in a sort of haze and that's what had succeeded beautifully in 1972 in Paris Nikolaus Lehnhoff with a fantastic cast (Leonye Rysanek, Christa Ludwig, James King, Walter Berry, Ruth Hesse) with sets by Jorg Zimmermann and conducted by the unsurpassed Karl Böhm who had been a close friend of the composer. From the very beginning here one can see that Gergiev is light years from what should be the atmosphere for the music of this fairy tale which by the way takes its source in many aspects from the Arabian Nights tales; the same error is done by the stage director. Gergiev should be reminded that no conductor can pretend to be able to conduct any type of music; he is great in Tchaikovsky, Shostakovitch, Prokofiev and perhaps some of the Russian opera composers of the XIXth century, but has not the skills to conduct Mozart or Beethoven and absolutely not for Wagner or Strauss or Mahler. Moreover it is a folly to pretend to be able to conduct every day a concert or opera or ballet (his conducting of this kind of music must be a nightmare for the dancers!) as he does with jet-lags etc... It's a pity the Paris performance could not be at that time recorded on video. I'll always remember that performance I was lucky to attend, the ovation done to the maestro and the cast at the end of each act, and also when Böhm was entering the pit. It was my first Strauss opera I attended and I was enthralled from the very first bar to the last, coming out the Opera Garnier like in a dream trying to return to reality for many minutes, strolling in the avenue like sleepwalker. Here after 4 minutes I quit! Here
@@jvdesuit1 I also saw the Lehnhoff/Zimmermann production in San Francisco in 1976, with Böhm and 'the usual suspects'. It was magical, a proper template for what showings of this opera OUGHT to be.
i disagree. I do think the production is quite good, but the singing is atrocious. The German words are hardly recognisable and the singers don't even seem to understand what they are singing.
I saw DIE FEAU OHNE SCHATTEN twice on stage , once at the MET and the other at the National Theater (Bayerische Oper) in MUNCHEN; both fabulous experiences; First came Munich where Hildegard Behrens was Barak's wife....... the applause seemed to never die down especially for the Dyer's wife and the Kaisarin played by the amazing Cheryl Studer. I was very young so I didn't get all the intricate symbolism, but enough for the whole piece to make total sense. I do believe it's my favourite Strauss. IT'S ALL TOO BAD IT PREMIERED IN 1917/18 RIGHT DURING WORLD WAR I SO THIS SERIOUS WORK WAS NOT A SUCCESS - PEOPLE WERE SO WEARY OF WAR AND THE LAST THING THEY WANTED WAS SUCH A SERIOUS WORK. That seemed to set a tone for FRAU which is only done when truly extraordinary singers can execute the roles. By the way, DEBORAH VOIGT was the EMPRESS at the MET - when she was in glorious voice.
It did NOT premiere during WWI. It was just written during it. Strauss and Hoffmansthal both agreed to not stage it until the war was going on. The premiere was in 1919.
Goosebumps always on the Dyer's wife's... "So it is spoken, and so it will be!" .. and the ensuing music. 1:02:30. Too bad the Marinsky Opera experts in the public share their exclusive pleasure by constantly ruining each act's sacred ending by clapping. Sad.
A bit of a shriekfest though I greatly admire the singers' stamina and their ability to remember mile upon mile of glorified recitative in a foreign language. But a nagging doubt remains: if you know, as surely you must, that your vocal emissions are akin to the nails going down the blackboard what keeps you going?
Shriekfest, haha. In my family there's a number of great admirers of this opera so we went to see it together. It took me several days to shake the eerie shrillness that kept on resonating in my ears.
@@Altonahh10 Strauss and Hofmannsthal's intentions can be clearly gleaned from the score and the libretto. No seance to contact them is necessary. This production flies in the face of the creators' expressly stated intentions. Don't be aggravating.
These are traditional stage cuts. The quartet with the Nurse and the Spirit Messenger onstage and Barak and his wife offstage is impossible to coordinate correctly. At Salzburg in 1992 they cheated by having the Dyer couple onstage, trapped in transparent columns. The Empress' melodrama after the revelation of the petrified Emperor is nearly always cut to the bone due to its gauche and clumsy nature.
@@jasonhurd4379 I don't know why the melodrama is supposed to be gauche or clumsy? I think it's one of the most powerful places of the whole opera. And it makes me sad when it's cut, because it includes the most relevant passages of the text to really understand the whole opera.
@@jasonhurd4379 "These are traditional stage cuts." Whenever I hear this, and I work at an opera house where this kind of reasoning is always used to justify cuts, I quote Mahler: "What you theater people call tradition is nothing else but your lazyness and sloppiness."
That's some great music. Sorry other commenters, but I wasn't offended by the staging. But the blonde should be sent for an Emmy Kirkby Detox, to purge that nasty vibrato.
This opera, whatever its merits, is based on a libretto that baffles our binary modern mind. I mean, who is the protagonist in this story and what the hell is it about? Are the unborn children the real "heroes"? But what would that mean? Barak comes off as some well-meaning and kindly nerd, his wife a flippant rom-com character. Everybody else is from some other world.
And what does the sympbolsim allude to? That women who don't want to bear children are incomplete, "lacking a shadow"? And that their highest form of purpose is to love their spouses and bear them many children?
le type s'est dit, comme chef je ne suis pas plus génial qu'un autre... difficile de me faire remarquer... que pourrais-je faire pour attirer l'attention ? voyons un peu... diriger en slip ? non, ça passera pas... ah ! j'ai trouvé, je vais me servir d'un cure-dent comme baguette ! génial ! the guy said to himself, as a chef I'm no more awesome than any other ... hard to get noticed ... what could I do to get attention ? let's see ... conducting in underwear ? no, it wont be ok ... ah! eurêka ! I will use a toothpick as a wand! I'm a f*** genius !
You are wrong. Somehow, your "klang" ain't working right. eg: Check Act 2, fig. 122 (p. 306 in full score)...around 1hour, 45min in the Video. Diminished 7th chords in 4 voices--2 tubas in Bb, 2 tubas in F..doubled by violas and celli..and it's all CORRECT. I've kept on eye on the score with your comment in mind, and everything is accurate. Do you really think that Gergiev, his assistants and the players themselves wouldn't figure it out during the 1st rehearsal?? I can't believe the level of supercilious garbage in the comment section here. Unbelievable. Some "Euro-trash" works well, much of it doesn't. This one does.
@@HassoBenSoba No, exactly this moment you mentioned is transposed _incorrectly._ You can clearly hear the middle c played by _bass tubas,_ so they're playing one octave too high. By the way, your level of aggression isn't good for your blood pressure, boomer.
@@musik350 Hey Klang, The tuba transposition is fine, just accept it. "Level of aggression?" Look in the mirror, pal. You're the one flinging garbage around here: eg: "the singing is atrocious...singers don't even seem to understand what they're singing"...etc. And when you post such dismissive and arrogant comments, you will occasionally be called out for it. "Blood Pressure" "Boomer?" Sounds like you're the one who needs to relax and do some deep breathing.
Le public a bien de la patience de supporter ces sottises, à moins que ce soit par charité. Mais comme chacun sait, les metteurs en scène d'opéra sont de grands penseurs qui font avancer la société, un peu comme les créateurs de séries télé...
They do a fairy tale staging for the emperor and empress. Only a "real life" staging for the lowly dyer and his wife. I think it works. The whole point is the contrast between romantic fantasy and marriage reality.
But why should he voice such opinions? I don't think people should be forced to talk about certain topics. We should not judge without knowing all the particulars of the subject at hand.
Oui. C'est l'agonie de l'art, de la musique, du théâtre. L'apothéose de l'insipidité totale, la stupidité totale du compositeur le plus sourd et sans talent qu'est Richard.
![ละลาย (LALALYE) - DAOU PITTAYA ต้าห์อู๋ พิทยา [OFFICIAL MV]](http://i.ytimg.com/vi/wo6r9TgausI/mqdefault.jpg)
Strange how many negative comments there are, but if you look at the likes/dislikes it's clear that the majority liked this production. So did I
you are absoultly right… from a German point of view, I never expected that for a russian production… thank you for your positive review …by the way I understand - what is amazing - every word
There are too many reasons a person might "like" or "dislike" this to conclude that a thumbs up signals approval of the staging. I have no intention of watching it but I'll give it a thumbs up for the musical performance.
Die Frau ohne Schatten ist ein Meisterwerk, das so schwer zu zeigen ist, dass jede Inszenierung willkommen ist und gelobt werden muss.
This is available in Nürnberg now.
Why I should see this opera? Strauss sounds post-romantic compositor with mutilated harmony, a lot of dissonances. I didn't like Salome, in comparison Lulu and Wozzeck of Berg sound refined. Anyone wants to challenge this opinion?
Stranger still: if you don’t like it - stop watching and take your time and energy elsewhere . So much negativity- great production :-)
This is, by far and large, the best living version that I have seen. It is completely superior to others, with conductors and singers immersed in the so called star system -Solti, Böhm, Karajan, Levine and so forth- and singers such as Birgit Nilsson, Plácido Domingo, René Kollo, Astrid Varney, etc. Therefore I enjoy this incredible performance any time I have the opportunity to watch and see it in this absolutely unbeliable porodution.
It is absolutely incredible the way these Russian singers sing and pronounce the German language. It looks as if they were born or educated in some German college or university. CONGRATULATIONS AGAIN
This is one of my favorite operas of all time. The part at 1:24:20 is one of the most beautiful pieces of music I've ever heard.
I saw this production on tour in Scotland. I sat at the front on the far left. The front row curved and this allowed me to see whole orchestra through the entire length of the pit. At one point I saw a bassoonist look to his fellow bassoonist. He looked at Gergiev and then gave his colleague a look of complete and frustrated puzzlement. His colleague responded with a shrug and a smirk. They did not seem convinced by the maestro.
I can't imagine how it's possible to follow Gergiev in this EXTREMELY complex, intricate music. The orchestra obviously has learned to deal with it, and they are SUPERB. There's more transparency and detail here than in any other recording I've heard..studio or live (though the Wegel/Frankfurt is darn' good). LR
I too saw this at the Edinburgh Festival. With any production of this work, there will be things that might be better but I, too, liked it. Not as much as the Hartmann one at Covent Garden in '69 and '75 but - what a piece to take on tour! He always conducts with a toothpick and they must get on with it.
R
Wait ... pretty stunning singing in all five major roles ... a well-trained orchestra that is nearing Kleiber-Bayern levels of in-sync-ness ... a conductor I know as a very safe pair of hands whom I'd not necessarily expected to suit my taste for Strauss conducting so well ... a production I actually want to watch and keep watching?
I'm dreaming, right?
Good thing at least it's not uncut or I'd be drooling from my mouth right on top of CaptainBohnenbrot right below me :)
Thank you EuroArts (and your channel) - you rarely disappoint me, but video's a treat to me, plain and simple :)
I cab see this Russian "FRAU" over and over again - Fabulous singing. Love it!
"Die Frau Ohne Schatten" has always been my favorite Richard Strauss opera. I loved this production. The onerous symbolism overlain onto the plot is a turnoff for many people, but for this work, my focus has never been on the tightness of the story and narrative, as much as on the luminous, supremely beautiful music, as well as the near-miraculous ability of some singers to make it through the role of the Dyer's Wife.
Rarely have I seen anyone cast in the role of the Dyer's Wife who truly lives the role as Olga Sergeyeva does in this performance. She is so adept at feeling and showing the frustrations and adversities felt by Barak's wife that even with the suspension of disbelief required for this work, none is needed for this singer. She is COMPLETELY believable. She has an occasionally screechy or warbling vibrato but I still enjoyed her portrayal of her role as I did all other major roles in this performance.
Although I have been a pianist (as an avocation, not a profession) for many years, and have loved and seen many operas, no doubt there are other commentators who are better equipped to argue the merits of this production vs. the intent of Strauss and von Hoffmansthal. I cannot disagree.
Generally, I'm fed up with directors taking extreme liberties with the composer's and librettist's intent(s) and completely veering off into their own self-serving egomaniacal fantasies. I cannot dispute that this is true to some extent in this performance, but not nearly as whacky as in many other opera productions from the likes of, say, Peter Sellars (ugh).
Personally, I can tolerate some such deviations as long as the sum total of the performance rings true.
I remember that several years ago, someone posted a complete 1978 performance from Stockholm, with Leonie Rysanek and Birgit Nilsson, but at some point the video must have been taken down. It was either from a copyright strike, a personal decision to remove the video or possibly that the channel owner may have simply taken down the entire channel. It's a shame. That performance really does adhere more faithfully to Strauss and von Hoffmansthal.
Nonetheless, as previously stated, I loved this production and thank you for posting this !
Completely agree with you about the Dyer's Wife; she is amazing. Barak is wonderful, as is the Nurse..she REALLY projects the combo of sinister, manipulative and charm essential to this most demanding role. I LOVE the Act II Scene 1 "feast" scene ("Was ist du deine Rede") with the kids; it's the sort of thing that I initially recoil from...but this works brilliantly. LR
@@HassoBenSoba I agree with your comments, too. 🙂
I saw EVA MARTON sing dyer's wife with SOLTI conducting. Many tears ago..MAGICAL
This one of the most gorgeous, beautiful and strange versions of this so extravagant and outstanding operas. The singers, it seems to me, are all Russians, probably not very known in the so called West (is or was Russia or the extinct URSS sometime part of the Far East?), but absolutely magnificent. I Have seen this opera sometimes in New York and London and I have also many recordings and have seen some videos of Die Frau, but never have I had the enormous pleasure given by this production conducted by the the great Valery Gergiev.
I am always puzzled when productions like this, take a rare gem and turn it into something that is better heard than seen, because their vision of the magnificent work is clouded by their need to make a statement.
I quite agree. Mr.Kent as so many stage directors today considers that we should not dream when we go to the opera or the theater or watch a ballet. We are stupid, intellectually void animals and it is his duty to educate us!
This opera is a legend which enhances the bestial motives of the nurse in contrast with the love of the empress for her husband and her respect for the Barak's wife who is trying to get a better life but in the end realize that she's too in love with her husband and aiming to high involves many risks and uncertainties.
All this should be presented in a sort of haze and that's what had succeeded beautifully in 1972 in Paris Nikolaus Lehnhoff with a fantastic cast (Leonye Rysanek, Christa Ludwig, James King, Walter Berry, Ruth Hesse) with sets by Jorg Zimmermann and conducted by the unsurpassed Karl Böhm who had been a close friend of the composer.
From the very beginning here one can see that Gergiev is light years from what should be the atmosphere for the music of this fairy tale which by the way takes its source in many aspects from the Arabian Nights tales; the same error is done by the stage director.
Gergiev should be reminded that no conductor can pretend to be able to conduct any type of music; he is great in Tchaikovsky, Shostakovitch, Prokofiev and perhaps some of the Russian opera composers of the XIXth century, but has not the skills to conduct Mozart or Beethoven and absolutely not for Wagner or Strauss or Mahler. Moreover it is a folly to pretend to be able to conduct every day a concert or opera or ballet (his conducting of this kind of music must be a nightmare for the dancers!) as he does with jet-lags etc...
It's a pity the Paris performance could not be at that time recorded on video. I'll always remember that performance I was lucky to attend, the ovation done to the maestro and the cast at the end of each act, and also when Böhm was entering the pit. It was my first Strauss opera I attended and I was enthralled from the very first bar to the last, coming out the Opera Garnier like in a dream trying to return to reality for many minutes, strolling in the avenue like sleepwalker.
Here after 4 minutes I quit!
Here
John Gesselberty )
@@jvdesuit1 I also saw the Lehnhoff/Zimmermann production in San Francisco in 1976, with Böhm and 'the usual suspects'. It was magical, a proper template for what showings of this opera OUGHT to be.
i disagree. I do think the production is quite good, but the singing is atrocious. The German words are hardly recognisable and the singers don't even seem to understand what they are singing.
Your babbling sounds as you would be a reviewer from "east-cost"
I saw DIE FEAU OHNE SCHATTEN twice on stage , once at the MET and the other at the National Theater (Bayerische Oper) in MUNCHEN; both fabulous experiences; First came Munich where Hildegard Behrens was Barak's wife....... the applause seemed to never die down especially for the Dyer's wife and the Kaisarin played by the amazing Cheryl Studer. I was very young so I didn't get all the intricate symbolism, but enough for the whole piece to make total sense. I do believe it's my favourite Strauss. IT'S ALL TOO BAD IT PREMIERED IN 1917/18 RIGHT DURING WORLD WAR I SO THIS SERIOUS WORK WAS NOT A SUCCESS - PEOPLE WERE SO WEARY OF WAR AND THE LAST THING THEY WANTED WAS SUCH A SERIOUS WORK. That seemed to set a tone for FRAU which is only done when truly extraordinary singers can execute the roles. By the way, DEBORAH VOIGT was the EMPRESS at the MET - when she was in glorious voice.
It did NOT premiere during WWI. It was just written during it. Strauss and Hoffmansthal both agreed to not stage it until the war was going on. The premiere was in 1919.
Excellent! Thanks for posting. My only gripe is that the audience started clapping way too early!
прекрасная опера, хорошие звучные голоса. Дочь слушала с удовольствием
Goosebumps always on the Dyer's wife's... "So it is spoken, and so it will be!" .. and the ensuing music. 1:02:30. Too bad the Marinsky Opera experts in the public share their exclusive pleasure by constantly ruining each act's sacred ending by clapping. Sad.
Kaiserin is amazing
Truly wonderful, remarkable - a great production and performance of a profound work of art
Vous êtes un provocateur.
Gracias por la versión. Richard Strauss está injustamente subrepresentado en el repertorio habitual .
Прекрасная опера с чудными, звучными голосами актеров-певцов.
What a gem!
Amazing production and an antidote against modern producers!
Tutto bellissimo. Le tre donne sono straordinarie
Wonderful Perfomance!!! Viva Maestro Gergiev!!!!
Just wanted to mention that at the end of act 2, at 2:15:14 precisely, a pillow is savagely crushed to the ground by the lowering projection curtain.
WOW!
WONDERFUL
I'm loving it. I call his compositions hiper-romantic.
Extraordinarios fragmentos
great!
A bit of a shriekfest though I greatly admire the singers' stamina and their ability to remember mile upon mile of glorified recitative in a foreign language. But a nagging doubt remains: if you know, as surely you must, that your vocal emissions are akin to the nails going down the blackboard what keeps you going?
Shriekfest, haha. In my family there's a number of great admirers of this opera so we went to see it together. It took me several days to shake the eerie shrillness that kept on resonating in my ears.
excelente
Wonderful
Can't anyone produce this opera anymore as Strauss and Von Hofmannsthal intended?
what is the point? let´s produce Purcell´s operas like it is 17th century. it is NOT a historic reconstruction, it is modern musical performance
It is not just a musical performance but a dramatic one as well. And this production violates the dramatic sense of the work at every turn.
What do you know about their intentions? Did you talk to them?
@@carl44acq You see what you don´t want to see. Open your eyes and understand the lyrics. Then you know that what you see matches
@@Altonahh10 Strauss and Hofmannsthal's intentions can be clearly gleaned from the score and the libretto. No seance to contact them is necessary. This production flies in the face of the creators' expressly stated intentions. Don't be aggravating.
Oh the chorus of unborn children at the end - totally weep worthy whatever the production.
there are some substantial cuts in the 3rd Act. why?
These are traditional stage cuts. The quartet with the Nurse and the Spirit Messenger onstage and Barak and his wife offstage is impossible to coordinate correctly. At Salzburg in 1992 they cheated by having the Dyer couple onstage, trapped in transparent columns. The Empress' melodrama after the revelation of the petrified Emperor is nearly always cut to the bone due to its gauche and clumsy nature.
Less than inspired sections. Known as "Strauss by the yard."
@@jasonhurd4379 I don't know why the melodrama is supposed to be gauche or clumsy? I think it's one of the most powerful places of the whole opera. And it makes me sad when it's cut, because it includes the most relevant passages of the text to really understand the whole opera.
@@jasonhurd4379 "These are traditional stage cuts."
Whenever I hear this, and I work at an opera house where this kind of reasoning is always used to justify cuts, I quote Mahler: "What you theater people call tradition is nothing else but your lazyness and sloppiness."
Ask yourself, for godsake. I want the version with 40 minutes removed before I will ever see Tristan and Isolde again.
That's some great music. Sorry other commenters, but I wasn't offended by the staging. But the blonde should be sent for an Emmy Kirkby Detox, to purge that nasty vibrato.
My Dying Bride-Shirt, nice :D
When???
@@LesHavrais 3:16:53 for example
1:37:54 - Act II, Scene 3
This opera, whatever its merits, is based on a libretto that baffles our binary modern mind. I mean, who is the protagonist in this story and what the hell is it about? Are the unborn children the real "heroes"? But what would that mean? Barak comes off as some well-meaning and kindly nerd, his wife a flippant rom-com character. Everybody else is from some other world.
Google it!
And what does the sympbolsim allude to? That women who don't want to bear children are incomplete, "lacking a shadow"? And that their highest form of purpose is to love their spouses and bear them many children?
2:15:10
That there is the world's smallest baton!
He uses it to compensate for his giant ... ... ... ;)
Hey, buddy...can I bum a toothpick from ya....?
What the hell?
So....all of this takes place in a washing machine? Hmmm...
How are Merle and Alex and Alix doing? Are they still around ? ¿
Surprised you are.
I wonder if you can see opera like this in Russia today.
why not?
le type s'est dit, comme chef je ne suis pas plus génial qu'un autre... difficile de me faire remarquer... que pourrais-je faire pour attirer l'attention ? voyons un peu... diriger en slip ? non, ça passera pas... ah ! j'ai trouvé, je vais me servir d'un cure-dent comme baguette ! génial !
the guy said to himself, as a chef I'm no more awesome than any other ... hard to get noticed ... what could I do to get attention ? let's see ... conducting in underwear ? no, it wont be ok ... ah! eurêka ! I will use a toothpick as a wand! I'm a f*** genius !
The tenor tuba parts have been transposed incorrectly throughout the entire piece - that sounds horrible
You are wrong. Somehow, your "klang" ain't working right. eg: Check Act 2, fig. 122 (p. 306 in full score)...around 1hour, 45min in the Video. Diminished 7th chords in 4 voices--2 tubas in Bb, 2 tubas in F..doubled by violas and celli..and it's all CORRECT. I've kept on eye on the score with your comment in mind, and everything is accurate. Do you really think that Gergiev, his assistants and the players themselves wouldn't figure it out during the 1st rehearsal?? I can't believe the level of supercilious garbage in the comment section here. Unbelievable. Some "Euro-trash" works well, much of it doesn't. This one does.
@@HassoBenSoba No, exactly this moment you mentioned is transposed _incorrectly._ You can clearly hear the middle c played by _bass tubas,_ so they're playing one octave too high. By the way, your level of aggression isn't good for your blood pressure, boomer.
@@musik350 Hey Klang, The tuba transposition is fine, just accept it. "Level of aggression?" Look in the mirror, pal. You're the one flinging garbage around here: eg: "the singing is atrocious...singers don't even seem to understand what they're singing"...etc. And when you post such dismissive and arrogant comments, you will occasionally be called out for it. "Blood Pressure" "Boomer?" Sounds like you're the one who needs to relax and do some deep breathing.
Comment le public peut-il accepter d'être ainsi injurié ?
For the record, Gergiev should not conduct Strauss.
42:11
Le public a bien de la patience de supporter ces sottises, à moins que ce soit par charité. Mais comme chacun sait, les metteurs en scène d'opéra sont de grands penseurs qui font avancer la société, un peu comme les créateurs de séries télé...
Excellent ! Dans le genre semi-débile qui se croit artiste, le metteur en scène d'opéra figure au premier plan...
Boy, what a trainwreck.
If you don't trust a fairy tale, don't accept to produce this opera. It's simple.
Furthermore, if you can't pronounce German in a clear manner, don't produce a German opera.
They do a fairy tale staging for the emperor and empress. Only a "real life" staging for the lowly dyer and his wife. I think it works. The whole point is the contrast between romantic fantasy and marriage reality.
The conductor was fired from his job in Munich last month because he refused to distance himself from Putin and the Ukrainian war. Yuck.
But why should he voice such opinions? I don't think people should be forced to talk about certain topics. We should not judge without knowing all the particulars of the subject at hand.
Mise en scène ignoble. A voir !
Encore un metteur en scène pervers qui chie sur les oeuvres du répertoire. Comment le public supporte t il d'être injurié par ces pouilleux ?
Everything about this performance is awful!
Well, I went there yesterday, and everything was amazing!
@@hei152 Maybe if you don't care about what they are actually supposed to sing
Truly
Yes
Terrible ! Même la Russie est touchée par ce phénomène des mises en scène affreuses, débiles et grotesques !
Oui. C'est l'agonie de l'art, de la musique, du théâtre. L'apothéose de l'insipidité totale, la stupidité totale du compositeur le plus sourd et sans talent qu'est Richard.
Repulsive...
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