Many thanks to Operavision and The Royal Swedish Opera for presenting the opera in 4k resolution. The quality of the 4k transfer is excellent, coping well with the low stage lighting. Dare we hope that the videographers realise that filming in 1080p in dim stage lighting is now a thing of the past?
I hardly know where to begin. Do the singers and the conductor have any idea of style?! Everything is slow, loud and heavy. Where are Rossini's elegance and humor? Figaro screams and Almaviva has problems from the beginning, Don Basilio's incessant hissing is neither funny, nor sinister. The tempi are unbearably slow depriving music of any life and bounce so necessary for Rossini. This could be Wagner for all the sense of belcanto style.
The original play by Beaumarchais has been shown to have its origins in the tradition of Commedia Dell'Arte, so you're actually quite incorrect as far as the staging itself is concerned. In fact, if you look up the Wiki entry for Beaumarchais' original play, you'll see a picture of a scene from it in which Figaro is depicted in the mask and costuming of Arlecchino/Harlequin. So, in fact, this staging is as close to the ACTUAL original as it gets.
I can buy quite well the commedia dell’arte staging but what I cannot buy is a) horrible pit; does the guy know 1:00:43 how to conduct opera - ? Tempi are quite weird. Almaviva is nonexistent. Figaro is a tad too heavy. Rosina is most secure but the timbre is not sympatico. All in all everything is too heavy and lacking rossinian spirit and style.
IMHO there is very little to recommend this as a performance of what should be a light and humorous opera but has sadly missed the target by some distance. The staging is quirky and somewhat odd but for apparently no reason other to be different. A number of the principles are struggling, Figaro is shouty and disjointed in his delivery, Don Bartolo becomes indistinct in the faster passages, and Almaviva seems out of his depth from the very beginning. Just a bit disappointing.
@@natashaten2299 Not for William Tell, which he sang before. Listen in 2016 the différence between his voice then and now... Here can't you hear that its high mids are very tight and weak? This is a sign of poor vocal health caused by too much effort and pressure. Its B flats still work, but I don't give it more than 5 years before it is unlistenable.
No voice left? 😂 it’s not true. Hahaha. Me and Maestro Milletari really wanted to put my last aria, but production team didn’t want it, because barbiere is already too long to see for audiences and opera company want to make a production that any other tenor will be able to sing easily after me. You know what that means? 😉 If Regie sets up differently in premiere, they would a bit struggle to find tenor who can sing difficult aria next time revival. Otherwise, Regie has to make “new revival version without last super crazy aria”. 😊 So it’s shame for me either that i missed to chance to sing “Cessa” in production. Maybe next time i hope. 😊
This tenor sang Arnold from William Tell in 2016. Even at the time he was pushing his voice to ensure he could sing it properly. But to novice ears it sounded pretty good. It was window dressing. 8 years later what is left? A voice that struggles in barely high notes, in a role that is also very light and easier... Without even singing Cessa si pui resistere, which is an admission of the singer's weakness. This is where this industry of “I can sing any repertoire because I have the notes! Duuuh!” is leading us. It destroys voices, it destroys careers, and even more quickly when the technique is not excellent. 10 years of career, that’s what we offer our current singers. Great shame. Grande vergogna.
Luthando Qave (Figaro) was amazing! But Kim (Count Almaviva) sounded a bit weak for the part. The staging was pretty lack luster and didn't really add anything to the production.
Die Zirkusmannschaft am Anfang ging für mich schon heftig in die falsche Richtung. Und es blieb so - oft steif und langweilig. Das Orchester langsam und schwer. Das Gegenteil von Rossini. Die guten Sänger werden innerlich und äußerlich zu Holzpuppen - Commedia del Arte ist das auch nicht. Also mein Beifall ist eher verhalten.
I have to agree, Rossini’s music is brisk and upbeat, this orchestra is dragging it too much to keep a light crisp sound and tempo . Too dark for Commedia del Arte for me .
@@petebondurant58 far from the worst I’ve seen. I thought the stage design actually benefits the sound but there are balance issues with the orchestra seeming too loud quite often. May have been different in real life though.
Singers are all awful. Almaviva was sung 90% of time in falsetto,and the tenor has zero flexibility in his voice,to the point that the final aria "Cessa..." disappeared to avoid his death on scene. Rosina with no high notes. Figaro with and awful vibratto... The scene is so plain that could be happening in any city but Sevilla. Not to mention makeup. Made me think they made a mistake and used the one from I Pagliacci. Only one good things:Wigs. Wigs were great. Congratulations to the hairdressers.
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Many thanks to Operavision and The Royal Swedish Opera for presenting the opera in 4k resolution. The quality of the 4k transfer is excellent, coping well with the low stage lighting.
Dare we hope that the videographers realise that filming in 1080p in dim stage lighting is now a thing of the past?
Gran transmisión, gracias!. Saludos desde Perú.
I hardly know where to begin. Do the singers and the conductor have any idea of style?! Everything is slow, loud and heavy. Where are Rossini's elegance and humor? Figaro screams and Almaviva has problems from the beginning, Don Basilio's incessant hissing is neither funny, nor sinister. The tempi are unbearably slow depriving music of any life and bounce so necessary for Rossini. This could be Wagner for all the sense of belcanto style.
Si rasenta la macchietta, improbabile!!! Musicalmente.... 🙊🙊🙊
All dressed like dolls, wearing makeup like Pierror. All like a teenager achievement. You don't feel close to watching the original masterpiece.
The original play by Beaumarchais has been shown to have its origins in the tradition of Commedia Dell'Arte, so you're actually quite incorrect as far as the staging itself is concerned. In fact, if you look up the Wiki entry for Beaumarchais' original play, you'll see a picture of a scene from it in which Figaro is depicted in the mask and costuming of Arlecchino/Harlequin. So, in fact, this staging is as close to the ACTUAL original as it gets.
Awesome production! Great music!
Great singing by the barber
I can buy quite well the commedia dell’arte staging but what I cannot buy is a) horrible pit; does the guy know 1:00:43 how to conduct opera - ? Tempi are quite weird. Almaviva is nonexistent. Figaro is a tad too heavy. Rosina is most secure but the timbre is not sympatico. All in all everything is too heavy and lacking rossinian spirit and style.
The overture had revolting tempo changes
Rosina is awesome, amazing
Don Bartolo erinnert mich etwas an Loriots Opa Hoppenstedt... leider sehr kurzatmig, fast schon asthmatisch anmutend...
Luthando Qave m'a éblouie ! Quelle voix, quelle maturité dans son jeu. un pure régal
IMHO there is very little to recommend this as a performance of what should be a light and humorous opera but has sadly missed the target by some distance. The staging is quirky and somewhat odd but for apparently no reason other to be different. A number of the principles are struggling, Figaro is shouty and disjointed in his delivery, Don Bartolo becomes indistinct in the faster passages, and Almaviva seems out of his depth from the very beginning. Just a bit disappointing.
not one of the best performances and interpretations
Not that the opera is bad, but unfortunate that it overcasted the original one by Paisiello
Konu Kim didn’t sing “Cessa di più resistere” at the end, why?
Cause there is already no voice left.
Like almost every modern singers after 10 years of singing non-appropriate repertoire.
@@theweaselcut4214 you think, his voice is not suited for Rossini?
I rather like it
@@natashaten2299 Not for William Tell, which he sang before. Listen in 2016 the différence between his voice then and now...
Here can't you hear that its high mids are very tight and weak? This is a sign of poor vocal health caused by too much effort and pressure. Its B flats still work, but I don't give it more than 5 years before it is unlistenable.
No voice left? 😂 it’s not true. Hahaha.
Me and Maestro Milletari really wanted to put my last aria, but production team didn’t want it, because barbiere is already too long to see for audiences and opera company want to make a production that any other tenor will be able to sing easily after me. You know what that means? 😉 If Regie sets up differently in premiere, they would a bit struggle to find tenor who can sing difficult aria next time revival. Otherwise, Regie has to make “new revival version without last super crazy aria”. 😊 So it’s shame for me either that i missed to chance to sing “Cessa” in production. Maybe next time i hope. 😊
superb staging...superb staging!
This tenor sang Arnold from William Tell in 2016. Even at the time he was pushing his voice to ensure he could sing it properly. But to novice ears it sounded pretty good. It was window dressing.
8 years later what is left? A voice that struggles in barely high notes, in a role that is also very light and easier... Without even singing Cessa si pui resistere, which is an admission of the singer's weakness.
This is where this industry of “I can sing any repertoire because I have the notes! Duuuh!” is leading us.
It destroys voices, it destroys careers, and even more quickly when the technique is not excellent.
10 years of career, that’s what we offer our current singers. Great shame. Grande vergogna.
Costumes look more like they belong in Der Rosenkavalier or Pagliacci.
Au cirque Pinder aussi
Yes, definitely some circus costumes , especially that clown’s cloak with big pom pom buttons .
38:00 c'est difficile d'apprécier une autre version quand tu as entendu la version de Mickael Spyres et Lawrence Brownlee 😅
Swedich Opera has before made great operas. Now this is included.
Luthando Qave (Figaro) was amazing! But Kim (Count Almaviva) sounded a bit weak for the part. The staging was pretty lack luster and didn't really add anything to the production.
❤️🇱🇨!!!
❤
Figaro is amazing
Excelente👏👏👏👏👏👍.
Représentation grotesque et hideuse, pourquoi chercher à détruire ce qui est beau ?
2:20:26
19 mins in
무대미술이 멋지고, 김건우 목소리도 좋아요!
Die Zirkusmannschaft am Anfang ging für mich schon heftig in die falsche Richtung. Und es blieb so - oft steif und langweilig. Das Orchester langsam und schwer. Das Gegenteil von Rossini. Die guten Sänger werden innerlich und äußerlich zu Holzpuppen - Commedia del Arte ist das auch nicht. Also mein Beifall ist eher verhalten.
I have to agree, Rossini’s music is brisk and upbeat, this orchestra is dragging it too much to keep a light crisp sound and tempo . Too dark for Commedia del Arte for me .
Almaviva + Figaro = Rush Hour
The staging, and the lighting design in particular, are awful, otherwise an enjoyable performance; thank you.
They at least don't use mini skirts and other " actualization" truisms. Simply motives of Commedia del Arte
UN FIGARO STREPITOSO E MOLTO ROSSINIANO.
More atrocious costume and set designs. Why is this the norm in opera now? It's appalling.
@@petebondurant58 far from the worst I’ve seen. I thought the stage design actually benefits the sound but there are balance issues with the orchestra seeming too loud quite often. May have been different in real life though.
Why the silly make-up?
Grotesque, et laid.
Si criticas para que la ves
@@juligarin9836
How can he present an opinion about this performance without seeing it?
@@Lukasz-Lachvos ya la ves y ya pensas que es grotesca y cuando se termina la opera se puede decir eso
@@juligarin9836 Comment pourrais-je en avoir une idée sans le voir ?
@@juligarin9836 Pas besoin puisque c'est immonde dès la première minute
Singers are all awful. Almaviva was sung 90% of time in falsetto,and the tenor has zero flexibility in his voice,to the point that the final aria "Cessa..." disappeared to avoid his death on scene.
Rosina with no high notes.
Figaro with and awful vibratto...
The scene is so plain that could be happening in any city but Sevilla. Not to mention makeup. Made me think they made a mistake and used the one from I Pagliacci.
Only one good things:Wigs. Wigs were great. Congratulations to the hairdressers.