I can only repeat what others here have said. Every aspect of this production is ravishing. From the sublime music and the superb performance of it, the choreography, the costumes, the lighting, the cinematography. A feast for ears and eyes, and a comfort to the soul.
Listening this beauty and sailing at the same time in choppy waters bring sensation of time machine which takes you back to XVII / XVIII centuries maritime adventures.
C'est un beau voyage au temps passés, ils ont fait l'ambiance parfait du XVIIeme siecle. Les danseuses "africaines" sont habillés avec des plumes comme des indiens peut etre guaranis, selon l'imaginaire des artistes de cet époque pour tous les peuples sauvages des autres continents. C'est superb.
Un véritable délice musical ! Quelle élévation de l'esprit , quelle finesse dans cette musique ! Quelle subtilité ! En plus cette musique swingue (je suis un batteur qui a joué entre autre avec RHODA SCOTT la plus célèbre organiste de jazz Américaine et je suis compositeur et chanteur de scat ...professionnel ).j'adore cette musique nuancée, élégante et merveilleuse ! Merci a vous !
Top ! Dommage que le rythme ternaire ne soit plus trop à la mode dans le jazz (un peu réservé à la valse musette...) car, comme vous dites, ça peut swinguer aussi ! D'ailleurs Ray Charles a failli nous proposer une chaconne avec le "Hit the road Jack"... mais est resté sur du binaire. Au passage vous noterez que le "strong beat" dans une chaconne est le temps 2 : temps 1 on lève le pied, temps 2 on le pose solidement à terre, temps 3 on ramène l'autre jambe - en général en baroque on accentue encore cela en jouant le temps 2 sur une valeur pointée, et le 3 sur une croche pour rebondir sur le 1 de la mesure suivante... même quand cela n'est pas écrit.
I have sold many copies of this DVD at my music store over the years. I will say this, it is the best period performance of a baroque opera I have ever seen. It's like a donor said, "Here is a blank cheque, takes up back to 17th century Versailles".
Excellent! Full of grace, class, and beauty. Some of the costumes were partly inspired by North American Indians of the east coast. Thank you for sharing with us your first upload!
Dans la musique baroque, les chaconnes et passacailles en Italie (Monteverdi), Angleterre (Purcell) et Allemagne (Bach) étaient souvent teintées de mélancolie, propices à des lamentations voire marche funèbre : basse chromatique descendante, rythme assez lent, souvent mineur... alors que la musique française (Lully, Charpentier, Campra, Marin Marais, Jacques Morel), avec cette couleur si particulière (violons doublés à l'unisson par les traversos) nous proposent des danses joyeuses, très "grand siècle", parfaitement restitué par cette mise en scène et interprétation de Vincent Dumestre ! (un luthiste, évidemment ;-))))
Un appello alla casa discografica Alpha: pubblicatela anche su Cd, è un peccato che della prima tragedie lyrique francese non esista che questa sola versione. Spero che la incida Hugo Reyne nell'opera omnia dedicata a Lulli oppure, visto che le ha dirette tutte, spero che la pubblichi Christophe Rousset. Un appel à la maison de disques Alpha: publiez-le également sur Cd, il est dommage que des premières tragédies lyriques françaises il n'y ait que cette version. J'espère que Hugo Reyne la gravera dans l'opéra omnia consacré à Lulli. Ou, puisqu'il les a tous dirigés, j'espère que vous publierez Christophe Rousset.
@FRAGIORGIO1 Yes, I'm quite fond of Lully's music, although if the portrait of him in the movie "Le Roi Danse" is at all accurate (and apparently it is), I don't think much of him as a human being.
륄리 - 카드뮈와 에르미온 : 프랑스 오페라 - [서정 비극] (전통발레를 오페라로 접합) 이탈리아 오페라를 다소 변형시켜 3막 오페라의 중간중간 장중한 [발레장면을 삽입]하여 [프롤로그와 5막으로 구성]된 프랑스식 오페라 서정비극을 만들었다. 륄리는 [시를 최우선]으로 두고 음악은 가사를 올바로 표현해야 한다고 주장했다. 프랑스어의 특성을 잘 살린 레치타티보를 고안. 아리아는 보다 짧고 단순해서 이탈리아의 아리아보다 기교적 효과가 덜하다. 발레와 합창이 작품의 중요한 구성 요소였으며 기악이 노래의 반주에 머물지 않고 독립된 악곡으로 많이 사용되었다. 륄리가 확립한 [프랑스식 서곡]은 [2부분 형식]으로 [부점리듬- 느린부분]과 [모방대위- 빠른부분]이 나온다.
@davehshs Yes, I know. Geniuses sometimes are part gold and part lead. Einstein, I read, could be pretty repugnant with people and made out with other women in his wife's presence.
Tous trois ensemble: Suivons, suivons l'Amour, laissons-nous enflammer, Ah! Ah! Ah! qu'il est doux d'aimer! Premier Afriquain: Quand l'Amour vous l'ordonne, Souffrons les rigueurs, Chérissons les langueurs, Il n'exempte personne De ses traits vainqueurs; Quel péril nous étonne? Laissons trembler les faibles coeurs. Tous trois ensemble: Suivons, suivons l'Amour, laissons-nous enflammer, Ah! Ah! Ah! qu'il est doux d'aimer! Deuxième Afriquain: Deux Amants peuvent feindre Quand ils sont d'accord; Plus l'Amour trouve à craindre, Plus il fait d'effort; On a beau le contraindre, Il en est le plus fort. Tous trois ensemble: Suivons, suivons l'Amour, laissons-nous enflammer, Ah! Ah! Ah! qu'il est doux d'aimer! Tous trois ensemble: On n'a rien de charmant Aisément, Et sans alarmes: Mais tout plaît, en aimant, il n'est point de tourment Qui n'ai des charmes: Suivons, suivons l'Amour, laissons-nous enflammer, Ah! Ah! Ah! qu'il est doux d'aimer!
You are both idiots, and probably don't know any history. Racism is bad any day and in any form. But this is a work that was composed nearly 400 years ago. I am pretty sure it's not a product of 2018. Maybe someday you will learn about a little thing called context. Was the slave trade that entrapped and robbed millions of Africans of their lives and cultures high and prosperous THEN, in the 17th Century? It damned sure was. Did the blackface racist "bojangles" minstrels of 19th and 20th Century America meant to make a mockery of African-Americans exist THEN in the 1600's? They damned sure didn't, that came later. By the way, the dancers here are wearing masks, not face paint, if you stupid offended libtards deigned to actually look carefully at what you're criticising. The name of this dance movement in the work is called Chaconne des Africains, if you bothered to do some reading, which I am sure you generally don't do. Yes. Africans. Black people. A European fascination with ANYTHING foreign, and yes, that meant exotic, whether African, Asian, Caribbean, you name it. A total and complete fixation on the brand new world that had been discovered known as the Americas. No one excuses the disgraceful racism of centuries past, but you need to learn that works like this and their creators were products of their times, not ours, and there is nothing wrong with replicating that for artistic and historical/educational purposes. Next time, prop open a book before commenting.
You're right; ethnic appropriation used to be pretty common in opera until recently, as it has very much fallen out of favor. However, there is some question as to whether it is permissible in the context of producing a historically accurate 17th- or 18th-century performance. For my part, I would have to say it depends on how accurate and respectful the production is. For example, it was not unusual during that time period that native Americans were depicted in European or partly European dress, and it was rarely meant to be disrespectful; on the contrary. These matters can get complicated.
However, I feel compelled to add that this production does go over the line with its depiction of indigenous Africans. My guess is that this production is from at least 10 years ago. The music is beautiful and the staging is colorful and lovely, but there is a problem of principle here. Fortunately, producers in the United States are more aware and careful now.
I can only repeat what others here have said. Every aspect of this production is ravishing. From the sublime music and the superb performance of it, the choreography, the costumes, the lighting, the cinematography. A feast for ears and eyes, and a comfort to the soul.
A fine example of a performance that accomplishes the feat of capturing and transporting the audience to another world....
What a magnificent presentation ! This takes us to Louis XIV's court and to Lully's genius of presentation.
What a fantastic production ! The costumes, the well-played music, every thing fits ! It's so nice ...
Listening this beauty and sailing at the same time in choppy waters bring sensation of time machine which takes you back to XVII / XVIII centuries maritime adventures.
hi, can you tell me more about what happened during that time period? I have to do a project by tomorrow.
C'est un beau voyage au temps passés, ils ont fait l'ambiance parfait du XVIIeme siecle. Les danseuses "africaines" sont habillés avec des plumes comme des indiens peut etre guaranis, selon l'imaginaire des artistes de cet époque pour tous les peuples sauvages des autres continents. C'est superb.
Un véritable délice musical ! Quelle élévation de l'esprit , quelle finesse dans cette musique ! Quelle subtilité ! En plus cette musique swingue (je suis un batteur qui a joué entre autre avec RHODA SCOTT la plus célèbre organiste de jazz Américaine et je suis compositeur et chanteur de scat ...professionnel ).j'adore cette musique nuancée, élégante et merveilleuse ! Merci a vous !
Top ! Dommage que le rythme ternaire ne soit plus trop à la mode dans le jazz (un peu réservé à la valse musette...) car, comme vous dites, ça peut swinguer aussi ! D'ailleurs Ray Charles a failli nous proposer une chaconne avec le "Hit the road Jack"... mais est resté sur du binaire. Au passage vous noterez que le "strong beat" dans une chaconne est le temps 2 : temps 1 on lève le pied, temps 2 on le pose solidement à terre, temps 3 on ramène l'autre jambe - en général en baroque on accentue encore cela en jouant le temps 2 sur une valeur pointée, et le 3 sur une croche pour rebondir sur le 1 de la mesure suivante... même quand cela n'est pas écrit.
I have sold many copies of this DVD at my music store over the years. I will say this, it is the best period performance of a baroque opera I have ever seen. It's like a donor said, "Here is a blank cheque, takes up back to 17th century Versailles".
The lighting was mesmerizing. The musicians were excellent.
Excellent! Full of grace, class, and beauty. Some of the costumes were partly inspired by North American Indians of the east coast. Thank you for sharing with us your first upload!
I love it more and more , síce i háve discovered it here
I have left my problems and entered a beautiful world 🌎🥰
Это волшебство!❤
J’adore cette coreographie! Et la musique est superbe, ça va sans dire
Die schöne Claire Lefillâtre in ihrer schönsten Rolle als Hermione. 💐
Impossible d'imaginer toute la richesse de ce pan de la musique baroque en France...des trésors jaillissent tous les jours....
What a fantastic production. I hope i am going to find the whole thing somewhere on youtube.
Beautiful !!!
Dans la musique baroque, les chaconnes et passacailles en Italie (Monteverdi), Angleterre (Purcell) et Allemagne (Bach) étaient souvent teintées de mélancolie, propices à des lamentations voire marche funèbre : basse chromatique descendante, rythme assez lent, souvent mineur... alors que la musique française (Lully, Charpentier, Campra, Marin Marais, Jacques Morel), avec cette couleur si particulière (violons doublés à l'unisson par les traversos) nous proposent des danses joyeuses, très "grand siècle", parfaitement restitué par cette mise en scène et interprétation de Vincent Dumestre ! (un luthiste, évidemment ;-))))
Quelle musique magique !
GORGEOUS CHACONNE ! SUBLIME & ELEGANT 😊❤.
Somptueux ! L'on fait un rêve.
Обожаю! Из всех барочных композиторов, самый впечатляющий это Люлли-его музыка это праздник! Спасибо мсье Дюместр.
Così a Versailles alla fine del 600… magnifico!
Wonderful.
T GREAT ANDREA fantastic WONDERFUL beatiful excellent
Amazing indeed !
Ahhhh. Wonderful. Thanks so much.
QUE BUENO, ME ENCANTA!!!!
excellent
Amazing production and performance by all! I hope this is available on some sort of download or CD...must have.
Un appello alla casa discografica Alpha: pubblicatela anche su Cd, è un peccato che della prima tragedie lyrique francese non esista che questa sola versione. Spero che la incida Hugo Reyne nell'opera omnia dedicata a Lulli oppure, visto che le ha dirette tutte, spero che la pubblichi Christophe Rousset.
Un appel à la maison de disques Alpha: publiez-le également sur Cd, il est dommage que des premières tragédies lyriques françaises il n'y ait que cette version. J'espère que Hugo Reyne la gravera dans l'opéra omnia consacré à Lulli. Ou, puisqu'il les a tous dirigés, j'espère que vous publierez Christophe Rousset.
私が願っている事を代弁して頂きありがとうございます。
First I've heard this. Won't be the last!!!
Beautiful.
No, the costumes are inspired in Guarani indians from South America, North American indians wear different headdress.
Bravo, gracias
Maravilha !
Ma la stessa musica la trovo in Opere di Steffani, vedi Orlando Generoso o Marco Tullio, come mai?
2 people were expecting to see Emma Watson...
apparently 8 now
Sean Cassidy 9
@@ismayilarifoglu6226 17
👏👏👏💐🌺🌹
@davehshs I completely agree, and so I referred only to the costumes. I hope you are a Lully fan also. All the best.
Amazing Lulli,thanks for sharing!
Musique d'extreme beauté Bravo merci.
Dommage d'avoir masqué le visage des danseuses.
@FRAGIORGIO1 Yes, I'm quite fond of Lully's music, although if the portrait of him in the movie "Le Roi Danse" is at all accurate (and apparently it is), I don't think much of him as a human being.
륄리 - 카드뮈와 에르미온 : 프랑스 오페라 - [서정 비극] (전통발레를 오페라로 접합) 이탈리아 오페라를 다소 변형시켜 3막 오페라의 중간중간 장중한 [발레장면을 삽입]하여 [프롤로그와 5막으로 구성]된 프랑스식 오페라 서정비극을 만들었다. 륄리는 [시를 최우선]으로 두고 음악은 가사를 올바로 표현해야 한다고 주장했다. 프랑스어의 특성을 잘 살린 레치타티보를 고안. 아리아는 보다 짧고 단순해서 이탈리아의 아리아보다 기교적 효과가 덜하다. 발레와 합창이 작품의 중요한 구성 요소였으며 기악이 노래의 반주에 머물지 않고 독립된 악곡으로 많이 사용되었다.
륄리가 확립한 [프랑스식 서곡]은 [2부분 형식]으로 [부점리듬- 느린부분]과 [모방대위- 빠른부분]이 나온다.
Que elegancia la de Francia
Ce DVD devrait être remboursé par la sécurité sociale.
Killer,killer, killer
@FRAGIORGIO1 No doubt the costumes were partly inspired by North American Indians, but the music and movements are pure French. :)
Armand markiz de sade
Beautiful ¡!!!¡
To those arguing about which sort of Indians inspired the costumes, just a little hint: The piece is called "Chaconne des AFRICAINS" ;-)
@davehshs Yes, I know. Geniuses sometimes are part gold and part lead. Einstein, I read, could be pretty repugnant with people and made out with other women in his wife's presence.
GIOVANNI BATTISTA LULLI
Lyrics, anyone? :D
Tous trois ensemble:
Suivons, suivons l'Amour, laissons-nous enflammer,
Ah! Ah! Ah! qu'il est doux d'aimer!
Premier Afriquain:
Quand l'Amour vous l'ordonne,
Souffrons les rigueurs,
Chérissons les langueurs,
Il n'exempte personne
De ses traits vainqueurs;
Quel péril nous étonne?
Laissons trembler les faibles coeurs.
Tous trois ensemble:
Suivons, suivons l'Amour, laissons-nous enflammer,
Ah! Ah! Ah! qu'il est doux d'aimer!
Deuxième Afriquain:
Deux Amants peuvent feindre
Quand ils sont d'accord;
Plus l'Amour trouve à craindre,
Plus il fait d'effort;
On a beau le contraindre,
Il en est le plus fort.
Tous trois ensemble:
Suivons, suivons l'Amour, laissons-nous enflammer,
Ah! Ah! Ah! qu'il est doux d'aimer!
Tous trois ensemble:
On n'a rien de charmant
Aisément,
Et sans alarmes:
Mais tout plaît, en aimant,
il n'est point de tourment
Qui n'ai des charmes:
Suivons, suivons l'Amour, laissons-nous enflammer,
Ah! Ah! Ah! qu'il est doux d'aimer!
Thank you very much Adrian! Happy 2018! :)
They're singing a song about love and how wonderful it is.
c
.
Y'all this is uh. Literal blackface. Could we at least acknowledge that for like a second
Like how fucked up this is
It's so prevalent in opera, it's gross.
You are both idiots, and probably don't know any history. Racism is bad any day and in any form. But this is a work that was composed nearly 400 years ago. I am pretty sure it's not a product of 2018. Maybe someday you will learn about a little thing called context. Was the slave trade that entrapped and robbed millions of Africans of their lives and cultures high and prosperous THEN, in the 17th Century? It damned sure was. Did the blackface racist "bojangles" minstrels of 19th and 20th Century America meant to make a mockery of African-Americans exist THEN in the 1600's? They damned sure didn't, that came later. By the way, the dancers here are wearing masks, not face paint, if you stupid offended libtards deigned to actually look carefully at what you're criticising. The name of this dance movement in the work is called Chaconne des Africains, if you bothered to do some reading, which I am sure you generally don't do. Yes. Africans. Black people. A European fascination with ANYTHING foreign, and yes, that meant exotic, whether African, Asian, Caribbean, you name it. A total and complete fixation on the brand new world that had been discovered known as the Americas. No one excuses the disgraceful racism of centuries past, but you need to learn that works like this and their creators were products of their times, not ours, and there is nothing wrong with replicating that for artistic and historical/educational purposes. Next time, prop open a book before commenting.
Ummm…get over it. It’s beautiful.
You're right; ethnic appropriation used to be pretty common in opera until recently, as it has very much fallen out of favor. However, there is some question as to whether it is permissible in the context of producing a historically accurate 17th- or 18th-century performance. For my part, I would have to say it depends on how accurate and respectful the production is. For example, it was not unusual during that time period that native Americans were depicted in European or partly European dress, and it was rarely meant to be disrespectful; on the contrary. These matters can get complicated.
However, I feel compelled to add that this production does go over the line with its depiction of indigenous Africans. My guess is that this production is from at least 10 years ago. The music is beautiful and the staging is colorful and lovely, but there is a problem of principle here. Fortunately, producers in the United States are more aware and careful now.