Berlioz - Requiem + Presentation (reference recording: Sir Colin Davis)
ฝัง
- เผยแพร่เมื่อ 13 มิ.ย. 2024
- Hector Berlioz (1803-1869) - Requiem, Op.5
Click to activate the English subtitles for the presentation (00:00-05:52)
Requiem - Kyrie (00:02)
Dies irae - Tuba mirum (11:38)
Quid sum miser (25:23)
Rex tremendae (28:40)
Quaerens me (35:36)
Lacrymosa (40:49)
Domine Jesu Christe (51:58)
Hostias (1:02:57)
Sanctus (1:06:41)
Agnus Dei (1:18:00)
London Symphony Orchestra & Chorus
Chorus master : Arthur Oldham
Wandsworth School Boys’ Choir
Chorus master : Rusell Burgess
Ténor : Ronald Dowd
Conductor : Sir Colin Davis
Recorded in 1969
Find CMRR's recordings on Spotify: spoti.fi/3016eVr
BERLIOZ : REQUIEM (commentaire complet : voir premier commentaire). L'artillerie „apocalyptique" de Berlioz est utilisée avec économie. Il réserve ses cuivres pour certains moments particuliers par leur couleur ou leur virulence, et l'effet produit par ces moments vient précisément du fait qu'ils contrastent fortement avec la texture éminemment austère, presque âpre de l'oeuvre. La plupart du temps, les cors sont les seuls „cuivres" opposés au large groupe des „bois". Un autre trait permanent de l'oeuvre est son alternance de grands moments dramatiques et de moments doux, de caractère intime. Chacun des parties faisant appel aux choeurs des cuivres est suivi par un mouvement recueilli, „religieux"; de plus l'amplitude de la dynamique, à la fin des mouvements dramatiques, est réduite de façon à préparer la voie à la musique timide et contemplative du mouvement suivant.
La longue et sombre courbe des phrases d'ouverture ‘Requiem-Kyrie’ détermine le caractère et l'envergure de l'oeuvre. Le tumulte du ‘Tuba mirum’ s'éteint en un murmure étouffé qui se prolonge dans la « pitoyable, fragmentaire désolation » du Quid sum miser (cors anglais et bassons auxquels répondent violoncelles et contrebasses ce qui semble suggérer la solitude de l'homme tapi dans l’univers vide de l’abime). La splendeur du ‘Rex tremendae’ s'efface en une douce prière qui nous prépare au calme rayonnement du ‘Quaerens me’.
Le ‘Lacrymosa’, avec ses rythmes violents, en dents de scie et sa gigantesque modulation terminale, s'achève sur un diminuendo, que suivent les lignes d'une fluidité tranquille, l'ambiance recueillie, et la saveur modale de l’’Offertorium’. A première vue, la fugue stricte de l’Hosanna peut sembler en contradiction avec le contexte dramatique de l'oeuvre. Mais si elle est chantée, comme Berlioz le recommande, « Sans violence, en tenant bien les notes au lieu de les accentuer isolément », ses longues phrases en arcs et son harmonie statique revêtent un caractère apaisé, céleste, comme celui du choeur de louange sans fin des anges autour du trône de Dieu.
L’’Agnus Dei’, puise la plus grande partie de son matériel dans l’’Hostias’ et dans le ‘Requiem-Kyrie’. D'un autre côté, la procédure consistant à reprendre, à la fin d'un Requiem, la musique du début a de respectables précédents et est satisfaisante: elle boucle la boucle de ce rituel ancien comme les âges. Et Berlioz ajoute une coda très belle et impressionnante, interrompant la musique du ‘Requiem aeternam’ juste avant les ’Kyrie eleison’ murmurés qui terminent le premier mouvement, et couronnant l'oeuvre par une série de solennels « Amen » encadrés par les lumineux arpèges des cordes semblant parcourir l'univers, tandis que les timbales battent sourdement une longue retraite.
Berlioz - Requiem, Grande Messe des Morts Op.5 / NEW MASTERING (Ct.rec.: Dimitri Mitropoulos 1956) : • Berlioz - Requiem, Gra...
Hector Berlioz PLAYLIST (references recordings) : • Hector Berlioz (1803-1... - เพลง
![CAMPปลิ้น | EP.76[1/2] โจโฉเปิดป่าโหดรับโอ๊ต-ป๊อบ รอบนี้พี่เอาจริง!](http://i.ytimg.com/vi/pNg5O7Pf-a0/mqdefault.jpg)
Hector Berlioz (1803-1869) - Requiem, Op.5
*Click to activate the English subtitles for the presentation* (00:00-05:52)
Requiem - Kyrie (00:02)
Dies irae - Tuba mirum (11:38)
Quid sum miser (25:23)
Rex tremendae (28:40)
Quaerens me (35:36)
Lacrymosa (40:49)
Domine Jesu Christe (51:58)
Hostias (1:02:57)
Sanctus (1:06:41)
Agnus Dei (1:18:00)
London Symphony Orchestra & Chorus
Chorus master : Arthur Oldham
Wandsworth School Boys’ Choir
Chorus master : Rusell Burgess
Ténor : Ronald Dowd
Conductor : Sir Colin Davis
Recorded in 1969
Find CMRR's recordings on *Spotify* : spoti.fi/3016eVr
BERLIOZ : REQUIEM. Les possibilités dramatiques du texte du Requiem, coloré de bout en bout par la vision du Jugement Dernier, avaient toujours fasciné Berlioz. Il avait même songé à écrire un opéra sur ce thème. Aussi, quand, en 1837, lui échut la commande d'une Messe des Morts, le compositeur se vit-il aussitôt submergé par „un torrent d'idées" que cette „poésie d'un sublime gigantesque" suscitait en lui. Il n'avait que trois mois pour mener à bien sa tâche, mais ce délai s'avéra suffisant. En composant son Requiem, Berlioz allait sciemment appliquer les principes de liberté et de vérité expressives au nom desquels il s'était battu (sous les couleurs de Beethoven et de Weber),et qui inspirèrent tout le mouvement romantique français. Il se rattache aux traditions artistiques de la France révolutionnaire, où les cérémonies musicales de grande envergure représentaient la plus haute expression de la dignité nationale.
Le Requiem est également la réponse de Berlioz à un problème technique particulier, celui de la sonorité dans un vaste espace. Berlioz vouait un intérêt passionné à l'acoustique (chose très rare l'époque), et qui considérait que la musique était généralement exécutée dans des bâtiments trop grands pour elle („on entend, on ne vibre pas"). La masse orchestrale et vocale du Requiem - plusieurs centaines de voix, un orchestre minimum de 100 cordes, 20 bois et 12 cors, renforcés à certains moments par quatre petits ensembles de cuivres et 8 paires de timbales fut dictée Berlioz par le fait qu'il voulait produire, dans l'église des Invalides, un „corps" sonore proportionnel et l'échelle des lieux et au caractère solennel d'une cérémonie nationale.
Quant à la gloire, l'imagination de Berlioz la revêt d'une splendeur au-delà du nationalisme. La majesté du Requiem s'élève au-dessus des circonstances particulières (commémoration de l'histoire immédiate de la France). Berlioz, dans le Requiem, impose l'objectivité à la frénésie romantique, fait contrôler sa réaction imaginative intense aux émotions personnelles de la liturgie médiévale et crée ainsi une musique d'une universelle grandeur.
L'artillerie „apocalyptique" de Berlioz est utilisée avec économie. Il réserve ses cuivres pour certains moments particuliers par leur couleur ou leur virulence, et l'effet produit par ces moments vient précisément du fait qu'ils contrastent fortement avec la texture éminemment austère, presque âpre de l'oeuvre. La plupart du temps, les cors sont les seuls „cuivres" opposés au large groupe des „bois". Un autre trait permanent de l'oeuvre est son alternance de grands moments dramatiques et de moments doux, de caractère intime. Chacun des parties faisant appel aux choeurs des cuivres est suivi par un mouvement recueilli, „religieux"; de plus l'amplitude de la dynamique, à la fin des mouvements dramatiques, est réduite de façon à préparer la voie à la musique timide et contemplative du mouvement suivant.
La longue et sombre courbe des phrases d'ouverture ‘Requiem-Kyrie’ détermine le caractère et l'envergure de l'oeuvre. Le tumulte du ‘Tuba mirum’ s'éteint en un murmure étouffé qui se prolonge dans la « pitoyable, fragmentaire désolation » du Quid sum miser (cors anglais et bassons auxquels répondent violoncelles et contrebasses ce qui semble suggérer la solitude de l'homme tapi dans l’univers vide de l’abime). La splendeur du ‘Rex tremendae’ s'efface en une douce prière qui nous prépare au calme rayonnement du ‘Quaerens me’.
Le ‘Lacrymosa’, avec ses rythmes violents, en dents de scie et sa gigantesque modulation terminale, s'achève sur un diminuendo, que suivent les lignes d'une fluidité tranquille, l'ambiance recueillie, et la saveur modale de l’’Offertorium’. A première vue, la fugue stricte de l’Hosanna peut sembler en contradiction avec le contexte dramatique de l'oeuvre. Mais si elle est chantée, comme Berlioz le recommande, « Sans violence, en tenant bien les notes au lieu de les accentuer isolément », ses longues phrases en arcs et son harmonie statique revêtent un caractère apaisé, céleste, comme celui du choeur de louange sans fin des anges autour du trône de Dieu.
L’’Agnus Dei’, puise la plus grande partie de son matériel dans l’’Hostias’ et dans le ‘Requiem-Kyrie’. D'un autre côté, la procédure consistant à reprendre, à la fin d'un Requiem, la musique du début a de respectables précédents et est satisfaisante: elle boucle la boucle de ce rituel ancien comme les âges. Et Berlioz ajoute une coda très belle et impressionnante, interrompant la musique du ‘Requiem aeternam’ juste avant les ’Kyrie eleison’ murmurés qui terminent le premier mouvement, et couronnant l'oeuvre par une série de solennels « Amen » encadrés par les lumineux arpèges des cordes semblant parcourir l'univers, tandis que les timbales battent sourdement une longue retraite.
Berlioz - Requiem, Grande Messe des Morts Op.5 / NEW MASTERING (Ct.rec.: Dimitri Mitropoulos 1956) : th-cam.com/video/9T131BY2Vxs/w-d-xo.html
Hector Berlioz PLAYLIST (references recordings) : th-cam.com/video/-3LL2fBOnGg/w-d-xo.html
51:58 Domine Jesu Christe Sublime!
@@amorisveri3879 "This Offertorium surpasses everything" (Robert Schumann)
@@Mackeson3 listen to the modern master, par excellence Arvo part's Sanctus from the Berlin Mass.
Classical Music/ /Reference Recording 11. 38
This is certainly not my reference recording of this requiem. The tenor isn`t good at all. Listen to the Berlin Philharmonic under James Levine and Pavarotti as tenor soloist.
It was Colin Davis who introduced me to the glories of Berlioz with I believe the first staged performance of the complete "Les Troyens" at the RAH and by coincidence I attended, unknown at the time of course, his final performance of the Requiem at St. Paul's Cathedral only a few months before his death. One of the greatest champions of one of the greatest musical minds of all time.
As a child listening to this in bed at night (favourite of mum and dad) all I could see in my mind's eye was faceless monks walking as though to church. It terrified me even as the Sanctus was my favourite piece. As a young adult after actually sitting down and listening to it all the way through I was a convert. This is my favourite recording, the first one my father owned, on vinyl. I still have a copy, and listen to this recording over all the others. Listen with eye's closed and you can see his depiction in your mind. Incredible.
The most extraordinary, exhilarating thing I've ever heard! The sound of genius! Goodness knows why I've never listened to it before. Berlioz is a man possessed: such daring, what a remarkable auditory imagination! Far more revolutionary than anything in Liszt or Wagner! And the performers are clearly superhuman: actually taking part in the final judgement! Listeners need to wear seat belts. Terrific!
What kind of mind hears/conceives of this? I can't get my own mind around that (and my son writes music 🙂) The Te decet hymnus through the final Amen: some of the most ethereal music in existence.
AN OPEN TO THE WHOLE OF CREATION MIND I SUSPECT...@@najat5779
The greatest “AMEN” in the whole history of music.
"This offertorium surpasses everything!" ( Robert Schumann)
It is remarkable that this revolutionary work was first performed in 1837, only 10 years after the death of Beethoven.
IMO Berlioz is possibly the greatest musical genius of all time.
I come to this piece every time I need to feel good about things - it is completely restorative!
The movie 'Tree of Life' uses '' Agnus Dei '' for the last scene, it's beautiful and spiritual with the pictures !
Amazing, to experience the same thrills that must have terrified the first audiences. And the exaltation and the solace. Thank you Colin Davis and the London Symphony; thank you, Classical Music/ /Reference Recording, and TH-cam.
you welcome :-)
Your channel is a breath of civilization amid the swamp of TH-cam. Thank you!
Thanks for your interest. This channel has started well. It's just the beginning :-)
Enjoy :-)
Dramatische Aufführung dieses großartigen Requiems mit kräftigen Stimmen des ganzen Chors und herrlicher Stimme des genialen Solisten sowie brillanten und gut balancierten Töne aller Instrumente. Der geniale Maestro leitet das ausgezeichnete Orchester im majestätischen Tempo mit völlig effektiver Dynamik. Einfach atemberaubend!
I swear we can hear the angels' wings beating time with this magnificent work.
:-)
Wonderful!!! Great conductor Sir Colin Davis!!!
Sin duda la mejor grabación del Réquiem de Berlioz. Sir Colin Davis ha sabido reunir lo mejor del compositor francés en una audición antológica, muy medida y equilibrada. Hemos oído muchas versiones de este Réquiem, pero èsta es algo más que una misa de funerales.
Many do not realize this recording was quadraphonic. Surround Master makes a modern digital decoder that blows all of those from the 1970s out of the water. You should HEAR this recording with this surround decoder. Blows you away.
J'adore le lacrymosa!
This is the definitive recording of one of the best requires written.Recorded in Westminster Cathedral, with its superb acoustics in 1969 as part of Phillips Berlioz Cycle, and conducted by probably the best conductor of Berlioz music. Superb!
Edit for spelling.
I was always in love with Faure’s Requiem. Especially the John Rutter/Cambridge Singers 1893 version, which is my favorite classical recording of all time. However, I wanted to branch out and listen to more Requiems and of course the recommendations were always the Mozart, Verdi, and Berlioz.
I will be honest. I didn’t really connect with the Berlioz upon first listen, however, I was told that it grows on a person.
Well was that ever true! I’ve had a few listens through of this version and I’m definitely realizing why people love it.
Im no scholar or expert here but I love the excellent “effects” Berlioz seems to get out of his orchestra. It’s like Berlioz is a great “painter of sound” if that makes any sense. The music is so structural yet it has a sort of magic, shimmering sort of quality.
I love the upwardly swirling sections of sound and the insanely huge crescendos that sound like rolling thunder in the Dies Irie/Tuba Miram. Also the Sanctus just blows me away and makes the hair on my neck standup.
Thank you so much for this upload, it is truly amazing!
:-)
Ahh, go into the 20th century! Schnittke and Penderecki, above all.
C'est la deuxieme fois qu'ecoute Le Requiem de Berlioz et c'est une ouvre tellemente fantastique comme le Symphonie Fantastique encore plus fantastique !!! Merci (Sorry my french indeed)
ABSOLUT WUNDERVOLL--EIN HOCHGENUß!!!! Ich liebe diese Musik-habe mir die CD schon oft angehört!!!
Absolutely ethereal. Berlioz was so far ahead of his time.
He is way ahead very much like Richard Wagner.
Lar M No, Wagner was very much OF his time, he was ambitious though, I'll give him that
It seems imprtant to mention Berlioz was a heavy user & was doing opium the whole time he composed this. Take what you will from that
17:41...chills every time!!! There is only one way to listen to this astounding, blow-you-away beautiful composition: no distractions, and speakers cranked.
So true!!!
My favourite Requiem. Tuba Mirum, Offertorium, and, that end with drums and chords ... Sublime.
Absolutely amazing!
This is my most favourite choral music recording. Thanks for sharing.
Yep. There is a reason why its a "reference recording."
Berlioz 존경을 표합니다.
A beautiful, powerful and majestic performance.
Truly a reference recording, fabulous!
What does reference recording mean?
Perfect.Extraordinary.Difinitive.
My Daddy frequently advised that the "Three B's" were "Bach, Berlioz, and Buxtehude" (for what it is worth.) :^) I still own and play the MP3 dubbing I made of his copy of this album using my old turntable and my Athlon XP etc. It's nice to have a few memories.
Any chance you'd be willing to share your mp3 rip?
Um dos meus compositores preferidos.
The Sanctus with the tenor in the high register and “forte” is one of the most inspired and dramatic music even written: like a men that sing he’s honor under the immensity of the sky.
Thanks for sharing it with us.
Effectivement, LA version de référence !!
holy shit of the holishitters, Berlioz is an outstanding Master.
apasionante Berlioz,quizás Un gran desconocido. gracias y por favor, conozcanle amigos.
le plus grand des Romantiques, fabuleux compositeur, écrivain et théoricien de la musique, venant d'une famille de non musiciens
Teresa Teresa
.
this has to be the. greatest requiem written by greatest non religious composer or was he in touch with god at the time of composition great perfmance
Religious or non religious - simply the greatest Requiem ever!
I think Berlioz was a baptised Catholic himself but didn't practice his faith much during his lifetime.
His father Louis Berlioz was a freethinker ; his son inherited of his opinions about religion. Hector was atheist, but didn't want this to be known too much, because it was not really permitted to think like so in this time.
3 great requiems written by non believers. Berlioz, Verdi and The War Requiem by Britten.
Wonderful !
Lovely.
Brillant.
Thanks
Imagine the music world at that time is still very much lingering on the 'do so me so' kind of classical style and something sounds like Wagner suddenly came out by the young and energetic Hector Berlioz.
A magnificent Requiem which he followed a few years later by a very impressive Te Deum (Berlioz called it The Requiem's brother) all from a non-believer. Still, as Ralph Vaughan Williams once said "Why shouldn't an atheist write a good mass?"
Loudest, most powerful performance you'll hear in concert beside possibly Mountain's "Mississippi Queen"!
jerrol pickering, Now there is no place to go.....It is done.....It is like the very blood in my veins...all the memory's in my mind.....the vibration of my spirit.....all come together... to make my soul. It is Fearful.....Wonderful...Beautiful..... reminds me that the end might be nigh!.....Is It?
Well if it's like this...we can handle it...
@@polliebain7450..... Thanks, Pollie, We may soon find out.....J
grazie *
ne plus ultra. I love this passage from 6.12min-6.44min. I've always been really struck by the Domine Jesu Christe (from 52min) as well. Wonderfully creepy.
ciertamente con la de Munch son las mejores versiones de esta obra, el único reparo tiene que ver con el tenor solista del Sanctus. Ronald Dowd ni es mínimamente idiomático y con carencias en la modulación vocal. Munch tenía a Leopold Simoneau. Pero lo que logra Colin Davis, descartando lo mencionado, es tan superlativo y sublime que preferiré siempre esta versión a todas las que se han hecho hasta hoy. Escuchen el Offertorium, la nostalgia angustiosa de las almas del purgatorio es sobrenatural...
t the first public performnce,berlioz gave the baton to a herr habeknecht so he could watch all players ( 170 the lagest orchstra and chorus in history) ,,at the beginning drum beats from 4 directions,in the tuba mirum,habelnecht laid down the baton took some lines of smuff from his shiny vest case,tooted a bit,berlioz ran up tot he podium grabbed the baton and beat the time himself. account of this is drawn from a book,, thomas F kelly, 'first performances'
I am really fed up by these pubs which cut music.
That trumpets ensemble in Tuba Mirum and then drums. Will Final Judgment be more impressive?
Doubt it
Haha! Wait 'n see!
Agree wholeheartedly!!!!!
OMG!!!
22:50!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Mah...è la prima volta che l'ascolto, la riascolterò ancora, è una musica che spiazza, non ci sono abituato e se non conoscessi,il testo non avrei mai detto che è un requiem. Ora capisco certe vignette contemporanee che prendevano in giro Berlioz visto come un direttore di un'orchestra di cannoni, fuochi artificiali,bombe e così via.
Então você deveria escutar o requiem de Verdi que é bem barulhento também.
Great recording but I still prefer the Saraste recording in the Koln Cathedral; it is more showy but Berlioz IS showy.
Yes, but is too much low to be played in a Hi-Fi...(about the sound recording)
Do you or anybody else know where I can find the full video of this recording? It was performed at Lyon in London. I have seen it, but can't seem to find it anymore. Thanks
There is no video of this recording to my knowledge. Lyon in London? Sorry don't understand. This recording was made according to the notes at Westminster Cathedral, London. There was a video on Y.T. of Colin Davis conducting the Bavarian R.S.O in the Cathedral at Regensburg, Germany but it appears to have been deleted.
@@paullewis2413 I think the name is Lyons Concert Hall in London. The recording was of the full orchestra and choir performing this whole piece. It was conducted by Sir Colin Davis. I'm wondering if it got taken down?
This is a funny way to declare love for two things the first is my mental wife And the other for this music
17:36 tuba mirum
On May 7, 1954, Parisians learned of the fall of the garrison at Dien Bien Phu, Vietnam. That night all the French TV & radio networks canceled their regular programs and played this Requiem.
This is a magnificent version, for sure. In my opinion, Charles Munch's 1959 recording with the Boston Symphony Orchestra is even better, even though sound caption in 59 wasn't whtat it had become in 69... To this day, that version stays unparalleled in terms of intensity, incandescence and dynnamic tension.
I've just listened to the Munch and agree with you but this is pretty special too.
Such a pity that when listening to this great music one is forced to also hear the adverts.And to make matters worse some adverts have a horrible noise content. If they would only have some spoken advertising that would be bad enough already.
Hi Jan S, yes we understand you, this is the price to pay for free content. But there are several solutions:
-subscribe to youtube premium to never be disturbed again.
-download this record on a legal platform
Beautiful day :-)
Thank you for this advice. !! I will register shortly. The small monthly fee is worth it.
Could you please re-post your reply as it has cut off and I can not read everything properly.
Subscribed to your channel also. Thanks again.
@@jans5331 Hi Jan S, yes we understand you, this is the price to pay for free content. But there are several solutions:
-subscribe to youtube premium to never be disturbed again.
-download this record on a legal platform
Welcome to the channel :-)
Best
I have no idea if you subscribed to TH-cam or not, but you do not have to. Nor do you need to buy the recording (yet). All you really need to do is download Chrome's Ad Block Plus. Look it up. It blocks ALL ads. :)
49:09
I do love this recording. However, I can't help but feel that Davis's tempos are quite slow at times, particularly in the Offertorium. That one feels like it drags out. Though, I have huge respect for Sir Davis. Also, I am not a fan of the tenor soloist in the Sanctus. He seems like he is pushing out the high notes and shouting them, rather then singing them. For this solo, you almost need the smooth lyric tenor sound in order to create a meditative worshipful quality; not heavy operatic shouts. However, these are just my personal opinions. :-)
17:33
That's just the beginning!! The climax starting at about 18:45 and going to about 20:00!
Hier haut wenigstens die Lautstärke hin. Bei den anderen war dies viel zu leise. Die so etwas veröffentlichen sollten doch darauf achten, daß die Lautstärke vorhanden ist!!! Einfach wunderbar!!! Ich habe das Requiem auf CD seit 2007-habe es mir schon häufig angehört. Ich höre die Musik und den Gesang einfach zugern-WUNDERBAR!!! EIN ABSOLUTER GENU?!!!!!Auch hier ist die Lautstärke zu leise. Nachdenken-überprüfen!!!!
Either you're responsive to this music or not.
If you're, beware
Everything will be different
Everything...
It’s a pity the London symphony chorus is not an operatic choir. It’s good for Renaissance music not for the Romantic one
THERE IS ALWAYS A "BUT"...
I love this recording overall but tenor Ronald Dowd, poor man! His suffering is absolute, towards the end of the first part of the Sanctus he seems tired and in the second part, his voice breaks slightly and does not reach the high notes. The choice of soloist roles in the symphonic-choral world remains, for me, a mystery.
Can’t hold a candle to Mozart’s.
Holds a whole candelabra to Mozart's.
Mozart's Requiem inhabits a totally different World, ridiculous to compare the two. Incidentally you are aware that Mozart only completed somewhat over half of his requiem? The remainder was completed by his student Sussmayr.
@@marcpeycker that's why the music drops in quality after lacrimosa.

Why is there a pile of s*** from Donald Trump preceding this beautiful music. It spoils the whole experience.
Trump Derangement Syndrome manifesting in the least appropriate places.
I don't think he is necessarily complaining about Trump, but about the ads. This ad was just one of them. For this poster and anybody else, you need Chrome's Ad Block Plus. It will block ALL ads. Then you can enjoy this ad and interruption free. :)
This is NOTHING compared with Verdi. Not even in the same league.