Rossini: Ermione - Glyndebourne Festival Opera
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- เผยแพร่เมื่อ 28 ก.พ. 2012
- Recorded at Glyndebourne's superb new opera house, this lavishly praised production of Rossini's forgotten and unusual tragic opera has proved to be an unequivocal success. Based on Racine's Andromaque, this account of the Greek and Trojan love tangle has been set by Graham Vick in the classically-inspired auditorium of an Italian opera house, rather than in ancient Greece. The set designs, with their stricking colours, forms and lighting are as if created escpecially for the small screen.
Cast:
Anna Caterina Antonacci - Ermione
Diana Montague - Andromaca
Bruce Ford - Oreste
Jorge Lopez-Yanez - Pirro
Paul Austin Kelly - Pilade
Paul Nilon - Attalo
Gwynne Howell - Fenicio
Julie Unwin - Cleone
Lorna Windsor - Cefisa
Oliver Bridge - Astianatte
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Una delle più belle edizioni e regie e scenografie dell' ermione di Rossini...❤❤❤❤❤
Sublime voices (Antonacci and others are outstanding), excellent performances, and a unique Rossini’s work.
Wow, they just grabbed the reins on this thing and road it for all it was worth. Fiendish musical challenges being more than amply met, a dazzling production, a cast that sung the hell out of it - yes, very good show indeed, one even gets the feeling that Rossini would have greatly delighted in it himself - thank you for sharing, more please.
Rossini was proud of Ermione, but it was greeted coolly at debut and he was hurt. You’re right, I think he’d be thrilled by recent revivals, this one particularly.
Fascinant, magnifique, prodigieux chef-d'oeuvre! Merci du fond du coeur!
Warner Classics and TH-cam have opend my ears and my mind regarding Rossini and his many Operas. I have lernd a lot. Thanks to You!!
So glad I discovered this today - splendid presentation!
Ermione (Hermione), daughter of Helen and Menelaus: soprano Anna Caterina Antonacci
Andromaca (Andromache), widow of Hector: mezzo soprano Diana Montague
Pirro (Pyrrhus), son of Achilles and king of Epirus: tenor Jorge Lopez-Yanez
Oreste (Orestes), son of Agamemnon: tenor Bruce Ford
Pilade (Pylades), Oreste's companion: tenor Paul Austin Kelly
Cleone, Ermione's confidante: mezzo-soprano Julie Unwin
Fenicio, Pirro's tutor: bass Gwynne Howell
Cefisa, Andromaca's confidante: soprano Lorna Windsor
Attalo, Pirro's confidant: tenor Paul Nilon
Astianatte (Astyanax), Andromaca's son : Oliver Bridge (silent)
Adoro questa opera! Come non si esegue più spesso? Antonacci strepitosa, bella la regia.
La migliore Ermione disponibile.
Francesco Di Fraia 👍👌 siiiii! Anche io! 😊
Servono bel altre voci, a cominciare dalla protagonista.....
a supreme, unjustly neglected, masterpiece!!!
VIVA ROSSINI!!!
meraviglioso
This is such a beautiful opera, I can't understand why it is among opera rara. What does it need to be played more often. There are only 2 productions on DVD. I watched this several times, and I finally I ordered it on Amazon. Until it arrives I click here on replay. Thank you for uploading!
Sono innamorato di questa regia un capolavoro ❤❤❤❤❤❤ sublime ❤❤❤❤❤
Thank you for UP
beautiful
Love how lively this is! :D
Impressive production, with a steeply raked stage; I was lucky to see this at the 1996 Glyndebourne revival. Ermione is one of Rossini's very greatest scores and an original in its entirety: no reused themes borrowed from other works. Some of the singing is terrific (except for ACA; she audibly tires towards the end of a demanding role which ideally calls for a sfogato voice) and the dramatic tension palpable, despite the implausible plot. I do wish I could have also seen the famous 1987 "antiquity" Pesaro staging (available here on TH-cam), notable for Rockwell Blake's stunning Orestes. Saw the opera again two years ago in November 2019 at the San Carlo di Napoli and the much-heralded bicentenary production was pure garbage.
philipc67 ::
Your use of the word "garbage" took me by surprise ! I expected something positive. I had to laugh.
"garbage" or no garage, you get to actually "see" these operas.
@@cliffgaither Unfortunately he's right. As a neapolitan I was in San Carlo too and my disappointment (as for everyone I could speak with) was enormous. Wrong cast with an implausible Angela Meade leading it, horrible staging, meaningless conducting. How to waste a wonderful occasion.
@@b13ne :: Yeah ! It must be very disappointing to anticipate a great Rossini opera and assuming the singers will do justice to these masterpieces. Will opera ever come back from the abyss of mediocrity ?
Well I’m an A C A (and Ford )fan but generally I’m with you. This Glyndebourne production is utterly riveting, wonderfully gothic with exquisite musicianship. I can’t find anything to,surpass it.
Спасибо, bravo
Place: In and around Pirro's palace in Epirus
Time: Soon after the Trojan War
Act 1
Scene 1: A dungeon in the palace
Astianatte sleeps while the prisoners continue their lament (Chorus: Troja! Qual fosti un di / "Troy! Once so great"). Andromaca arrives, escorted by Fenicio, Attalo and Cefisa, and embraces her son (Cavatina: Mia delizia! / "My only joy!"). Attalo reminds her that Astianatte will be released if she can forget Hector, her dead husband, and give in to Pirro's advances. Fenicio, fearing another outbreak of war, rebukes Attalo, and reluctantly tears Andromaca away from her son.
Scene 2: The gardens outside the palace
Cleone and some maidens invite Ermione to go hunting with them (Chorus: Dall'Oriente l'astro del giorno / "The sun is rising in the east"), but she is angry that Pirro has forsaken her and is courting Andromaca. Pirro arrives, expecting Andromaca, but she is not there. He sees Ermione and tries to escape, but she detains him and they quarrel (Duet: Non proseguir / "Say no more"). They are interrupted by a chorus of grandees, who announce the arrival of Oreste (Sul lido, di Agamennone il figlio, Oreste, è giunto / "On our shores Agamemnon's son Oreste has landed"), to Pirro's alarm and Ermione's delight. Pirro recovers and leaves to arrange Oreste's reception; meanwhile, Ermione fears that Oreste's arrival will only lead to the marriage of Pirro and Andromaca.
Scene 3: The throne room in the palace
Oreste, overwrought, appears with Pilade, who tries to calm him. He declares his unrequited love for Ermione, but Pilade tells him that he must do his duty (Cavatina and duet: Che sorda al mesto pianto ... Ah! come nascondere la fiamma vorace / "She is deaf to my tears ... Ah, how can I hide this voracious flame"). A march announces the arrival of Pirro and Ermione, attended by Fenicio, Attalo, the grandees and guards. Andromaca also enters, but stays at the back of the stage. Oreste tells Pirro that he represents all the kings of Greece, who are agreed that Astianatte must die before he is able to avenge the death of Hector, his father. Pirro defies Oreste, saying that he will do as he wishes, and that Astianatte may even share the throne with him (Aria: Balena in man del figlio l'asta di Achille ... Deh serena i mesti rai ... Non pavento: quest'alma ti sprezza / "Achilles' spear flashes in his son's hand" ... "Brighten your gloomy gaze" ... "You cannot frighten me: my soul despises you"). Andromaca and Ermione are aghast, Oreste warns Pirro that the Greeks will be angry with him, and Pilade vows that he will save Oreste from Pirro's anger.
Scene 4: The gardens outside the palace
Ermione tells Cleone that her love for Pirro has turned to hate. Oreste declares his love for Ermione, but she rejects him (Duet: Amarti? / "I? Love you?"). Pirro arrives with the grandees and his retinue, who announce that he has changed his mind and will return to Ermione (Chorus: Alfin l'Eroe da forte / "At last, the resolute hero"). Pirro then tells Oreste, to the astonishment of everyone, that he will, after all, hand over Astianatte to him. (Ermione, then the others and Pirro: Sperar, poss'io? ... A me Astianatte / "Should I, can I, hope?" ... "Bring Astianatte here") As the guards prepare to do so, Andromaca pleads with Pirro to give her time to think. Ermione is furious, and Pirro again rejects her. Andromaca vows to commit suicide if she is compelled to marry Pirro, while Pilade urges Oreste to leave with him. The Act ends in general consternation.
Act 2
The palace's entrance hall
Andromaca arrives to tell Pirro that she will marry him. Overjoyed, he sends Attalo away to release Astianatte and make preparations for the wedding. Andromaca, unhappy, swears to herself that she will not be unfaithful to her dead husband, and while Pirro urges her to make her vows at the altar, she again resolves to kill herself (Duet: Ombra del caro sposo ... Vieni a giurar / "Ghost of my dear husband ... Come and swear at the altar"). Pirro leaves. Andromaca decides that, before she dies, she will make Pirro swear that Astianatte will be spared. Ermione, accompanied by Fenicio and Cleone, appears and insults Andromaca, who forgives her and departs. She asks Fenicio to tell Pirro that she still loves him, even if he is planning to desert her (Aria: Di, che vedesti piangere / "Tell him that you have seen my tears"). He leaves, and Cleone tells Ermione that Pirro is not worthy of her. Ermione contemplates suicide (Aria: Amata, l'amai / "I was loved and loved him"). Pirro appears in the gallery to the sound of a festive march, and he and the wedding procession pass by (Chorus: Premia, o Amore, sì bella costanza / "God of love, reward this touching constancy"). Ermione swoons, but when her maidens and friends try to comfort her, she demands revenge. Oreste enters and tells her that he still loves her. She hands him a dagger and, trembling, he leaves to avenge her. She asks the gods to strengthen his arm, while Cleone and the chorus comment on her anguish (Chorus and duet: Il tuo dolor ci affretta a consolarti ...Se l'amor mio ti è caro ... Incerto, palpitante ... Se a me nemiche stelle / "We come to console you ... If my love is dear to you" ... "Uncertain, palpitating" ... "Unless, o gods, you are my enemies"). She rushes out in a fury, followed by the others. Fenicio and Pilade meet, predicting Pirro's downfall if he goes ahead with his marriage to Andromaca (Duettino: A così triste immagine / "Such sad imaginings"). They leave in opposite directions. Ermione returns, extremely agitated. She does not know whether she loves or hates Pirro, and regrets ordering Oreste to kill him (Aria: Parmi, che a ogn'istante de' suoi rimorsi al grido / "I imagine that at any time he may utter a cry of remorse). Oreste appears, wild-eyed, stumbling and holding out the bloodstained dagger. He tells Ermione that she is avenged, (Duet: Sei vendicata / "You are avenged") and describes how Pirro spared Astianatte and swore to make him his heir. Surrounded by angry soldiers drawing their swords, Pirro was attacked and killed, but not by Oreste, who says that he had given the dagger to another man and then reclaimed it. Ermione accuses Oreste of murder, and he realises that she was still in love with Pirro. She asks the Eumenides to destroy Oreste. Pilade and his sailors arrive, telling Oreste to flee with them. At first he refuses, but as Ermione tells him that she hopes that he will drown, she faints. He asks thunderbolts and death to do their worst as Pilade and the men half-carry him to their ship (Finale: Ah! Ti rinvenni / "Ah! I have found you").
Favolosa regia
Bruce... what a beautiful voice
Sublimeee io piango 😢😢😢😢😢😢😢
I love ACA, she is an example of a good but not marvelous voice that can have a +35 years career based on musicianship, good acting and hard work. She has sung more than 70 roles!
My only quibble with what you say is that as far as I’m concerned she does have a marvellous voice 😉.
Geweldig mooi
I love the performance of all here. The sound is poor , Robert Ford is great . Keep posting. Thanks.
BRUCE FORD!
The most Beautiful Lyrical voice ever!! (IMO of course)
Such Beauty!
Biggest fan!
madonna!!!
HERMIONE!
1:25:20. The music is very nicely played. But without good echo software on your computer, there's just no way to fully appreciate how brilliant this music really is. Rossini may have been as purely gifted as Mozart, a claim that no other composer, not even Beethoven could make.
I have contended that Rossini in Italy was doing the same things that Beethoven was doing in Germany at the same time, ushering in the Romantic age of music; not to take anything away from Mozart, but since both he and Rossini did their best work younger than Beethoven did perhaps they were more talented.
@@rogerpropes7129 Maybe it's not fair to put Beethoven in the same breathless operatic achievements as Mozart & Rossini (?)
Echo software?
RIP Graham Vick 💔
Great conducing by Davies. A very underrated opera conductor.
16:46 the kid is holding his laugh lol
Isn’t Andrew Davis conducting?
Εὐχαριστῶ.
❤❤❤❤❤❤❤❤❤❤🎉❤❤❤❤
It seems that on many of the Glyndeboure productions on TH-cam we have to put up with a 30 second ad(which can't be got round)I don't mind watching said ad in the first place,but even when you coose the "warch later" option you still have to put up with it when you return to the video EVERY time,is there any way to avoid this unecessary ad?It gets boring after 5 viewings or so.You cannot rvrn drag the time bar to get past it as it has it's own time bar.Any suggestions most welcome.
Wonderful performance. Please upload surtitles!!
You can install Ad-block on chrome or firefox.
Too bad they don't have cc.
i was fortunate to see this opera at the NY City Opera many years ago, with a cast headed by pendatchanska, kunde and banks. penda did not always sound beautiful (she was pushing the chest voice, and her coloratura runs were a bit gargled there), but she was mesmerizing to watch and she certainly had more voice than antonacci. this opera was not a success at the time of rossini, and was withdrawn after a few performances, and was never again seen in his lifetime.
Bianca Castafiore ●
That's too bad ! The overture alone is miraculous ( the chorus participation during the overture was another example of Rossini's great imagination ).
I think Rossini was very upset about that, judging from the conversation he had about it with Ferdinand Hiller in 1855. He appeared to shrug it off but it was evident it mattered a great deal to him because Ermione was his own favourite of his creations, or amongst the top two or three.
Paragonandola a Ermione di Pesaro con cast stellare, non si può paragonare una Caballe che nonostante le tante critiche di quella edizione a confronto la Antonacci sembra la sua cameriera,nonostante la presenza scenica. Poi Merrit stupendo Blake e cosa dire della Horne
Óperas italianas
Who is the woman with the clearest voice singing Rossini? No excessive vibrato, and always in tune?
The woman who sings sprechgesang today because she barely has any voice left.
info: from 1995
+E UMA DAS CLÁSSICAS MAIS BELAS ´,QUE EU GOSTO.
EM GERAL GOSTO DE TODA A MUSICA CLÁSSICA.
de Hermenegilo Guia Martihs.
Ps-´Pode- rá haver alguma vez compação com o lixo de música que hà neste
Sécula?
Aonde diz-Sécula- é erro.Deve ser Século.
As minhas desculpas-H.G.Martins
I adore Ermione and have almost all recordings of this masterpiece. But this is one of the most difficult Rossinian operas. And there is no proper singers to perform it well. This production suffers from exactly this sort of problem with non Rossinian singers. Pity, that the wrong casting made Ford to sing Oreste. Obviously he had to sing Pirro cause it is one of the best Nozzari's roles and it has to be sung by the rossinian baritenor. But at that time when Ermione got it's renaissance (1980-1990s) many conductors prefered dark voices for Oreste, because it's the only hero of true action, powerful emotions and bad will. Pirro was presented as a weak men suffering from romantic tensions between two royal ladies. So was in the studio recording with Merritt singing Oreste. Gosh, when would the ideal version of Ermione be recorded? I hope Michael Spyres and Larry Brownly will make it some day. Cause I can't even imagine someone else capable to sing this extremely difficult score as brilliant as they can.
By the way Rossini himself called Ermione his Italian Guillaume Tell. Indeed, it is one of the most progressive and dramatic among all Rossini operas. Real masterpiece.
Ideal cast would have been the one of Pesaro if they called any other soprano but Caballe.
maybe Spyres and Romanovsky?
I get the feeling this has happened frequently, that the Baritenor voice is cast as heroic lead, regardless of Rossini's intentions. The La Donna Del Lago with Caballe has Bonisolli as Uberto rather than Rodrigo. Bonisolli would have been a great Rodrigo! Instead, Uberto is too robust, and the Rodrigo is very light-voiced -- the effect is wholly unconvincing. The "Eccomi a voi, miei prodi" is almost laughable.
Merritt and Blake in Pesaro 1987. Ruined by Caballé, though.
...and her and Ron's son is named Rose... wonder if J.K. Rowling likes this piece.
Vick's idea is nothing new, I saw a Traviata at the Arena in Verona over 40 years ago with Scotto and she was singing to a opera house on stage and one in the Arena. Nobody was impressed then! Ever since the novelty has been used by others. I firmly believe that settings should be left alone, these are Trojans and Greeks at war not Parisians besieged by Prussians, this opera' setting is antiquity
I agree. But this was the beginning of the end of opera. This staging looks positively traditional in comparison to what we have today. Singers are all crap and stagings are an abomination. The singers here weren't fantastic but at least they could all speak Italian and you can hear it. Today you have Netrebko, the highest paid soprano in the industry, and she sings in Vienna without speaking german and sings at La Scala without speaking any Italian. It really is finished today
I hope it is not the beginning of the end of opera but the beginning of the end of CHARLATANS, MASS MEDIA BRAINWASHING, opera will live forever THEY WILL NOT...there is nothing they truly contribute to the art form - their names will be forgotten...as for multilingual primadonnas...this one is a real comedy!
I agree totally! Modern productions are the absolute worst!
Agreed. I read so many times that productions are in modern dress so that audiences can appreciate it more. Clearly it is too often thought that modern audiences are shallow and cannot relate to it unless we recognize contemporary dress and stagings. It's either contemporary or ridiculously abstract and often overtly sexual presentations. I love sex and I love nudity but there's porn for that.
Also updated to period it was written although this often works - saw this production in the opera house. But you are right setting in a theatre is a common device still being used and i can think of a few current productions doing the same 😀
"tout le monde le sait, Jesus est mort crucifié" ... Bizarre comme début , car beaucoup doutent qu'il ait m^me existé...
Heroine :v
No subtiles, too bad..
Edita Gruberova Of course...
43:29
Opere come questa, esigono voci, non miagolii, mi riferisco soprattutto alla Antonacci!
Vine aca por nuestro queridísimo presidente Javier Milei
la opera es preciosa ,cantantes y orquesta, excelentes ,pero si sucede 280 años a de c. deberian vestir de la epoca que toca..innovar esta bien.. pero..no ves lo que oyes,perdon, es mi opinion
Мур мур ММУУУУУ ММУУУррр
лат. tactus - касание толчок
Бис зациклить воспроизведение
th-cam.com/video/DYzRXLKfBAw/w-d-xo.html
Ermione necessita di ben altra interprete.. Lostesso dicasi per Pirro e Andromaca
Good conducting but a very dull score by giacomos standards. Over produced and directed to compensate.
Per cantare il ruolo di Ermione sarebbe prevista una voce di soprano per lo meno drammatico e svariate agilita' e non un gatto.
que fastidio el bell canto con esas coloraturas... no hay como el verismo o la ópera del siglo XX, se vuelve aburrido y sobreactuado ese belcantismo.
Hahahahahaha que opinion mas ridicula.