Medea: “Figli miei, miei tesori”
ฝัง
- เผยแพร่เมื่อ 8 ก.ย. 2024
- Sondra Radvanovsky and Matthew Polenzani sing an excerpt from Medea and Giasone’s Act II duet in the final dress rehearsal. Production: David McVicar. Conductor: Carlo Rizzi. 2022-23 season.
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Maria Callas owned this role, but this rendition appears to be superb. Radvanovsky and Polenzani a powerful team.
She still owns it. Sondra will do a very good job with the role, but the unique magic of Callas in this role simply can’t be replicated. I’m very excited to see this production.
@@Shahrdad , Maria Callas si e' portata il ruolo nella tomba. la Radvanosky e' solo lamentoso e ha scambiato il canto neoclassico con il verismo.
What GLORIOUS music from Cherubini!!
Saw it tonight. Like the rest of the audience I was cheering. Fortunately, the opera trolls were not in evidence. I think for the most part they stay on TH-cam where they can't be seen.
❤❤❤👏👏👏
'Why in Dallas and not here?' was written in the telegram sent to Maria Callas by Rudolf Bing, in November 1958 for the splendid production of Medea by Minotis & Tsarouchis. Should it had happened there, you could have had a fleeting memory of the flame that exists in this opera. 'Medea' doesn't need singers, it demands demigods of singing and theater and no matter how good Radvanovsky and Polenzani sing, they are not a match for these legendary, thrilling roles. They just sing, that is the problem.
Listen well to the 1958 recording where Callas spits fire, fires rage, exudes love and terror, summons demons, demands revenge - all for real - matched by an equal Jason on Jon Vickers.
We don't live in the past but we want opera to be thrilling still - otherwise there is no point in it.
The main problem is that not only Cherubini's Medea needs such level of singers, but any other as well. Only in this way Opera could be an Art, not just a performance.
you're right! the Met should have exhumed Maria Callas and cast her skeleton.
This is the dress rehearsal, so give them the benefit of the doubt. Perhaps the actual performance was better.
@@onigbajamo I doubt that's the case. Radvanovsky doesn't have what it takes - she gave a weak Norma too.
@@operafairy Definately, that is the case! Though, there are some differences between the great roles and the rest. Every piece of music, of opera especially, has its own special requirements, whereas some are unique. It's no wonder that it took a Callas to resuscitate into the 20th century 'Medea' and 'Armida' and to place a new, bright light upon forgotten works of the belcanto era. Callas in her 1961 interview states what needs 'Medea' to work. I don't want to hear Callas in 2022 but I need the singers to be committed into what they are doing.
The text is just an option for the soprano.
Un desastre. Porqué siempre Polenzani?
Totally agree, he is terrible! Comprimario voice singing the leading role. Absurd.
Boring. Weak singing and no drama. Callas and Vickers, or Callas and Penno far superior. Eileen Farrell also gave Medea a great shot.
Well, the question is this: Why trace Maria Callas' career by including Medea. Mrs. Radvanovsky is completely out of this role, here one must also know how to act, with the body and with the voice above all. The direction, the costumes and the sets certainly do not help to perceive a tragic Medea. Mrs. R. should remove artificial gestures that give affectation to a strong and vocally demanding role as regards the vocal expression, in this work maximum tension is required that listening to the clips is not perceived. I hope this role is removed from his already overflowing repertoire, he cannot offer a credible Medea.
Radvanovsky finaly sounding decent. This is for her voice, unfortunatly already ruined by roles such as Tosca, Turandot etc.
Center and low notes chaotic...
Nope. Radvanovsky doesn't have what it takes.
BORING 😫
Orribile (tranne Gubanova). Poor Polenzani!