The clarinet solo from 38:31 - 44:45 is absolutely stunning. Has such a haunting sound with a light hearted feel in the middle but eventually ending off "perdendo" (dying away/losing). Amazing
Wow, Star Trek: First Contact used the 25 most interesting seconds of this opera. The rest of it is just boring. The unchanging instrumentation and vocalization becomes repetitive after a few minutes. How can a 6-minute long piece have 1 climax? I’ll stick to music from The Red Army Choir.
Thank you, I came here because of Star Trek and stayed for the Opera. I actually own two versions of Les Troyens now. I have Sir Collins Davis and the John Nelson recordings (I also have The Damnation of Faust conducted by John Nelson). If by chance, you have a better recommendation for listening, I would most appreciate it. Again I appreciated the Timestamp, but I just no longer need it.
@@jchawkenspoet3099 The version that I have of Les Troyens is a 1994 version of Decca Records which was directed by the Swiss Charles Dutoit and tenor Gary Lakes in the leading role. It's a pretty good version and I can recommend it to you, but the one that you have of Colin Davis is legendary, because I think it was the first recording in which the 5 acts of this opera were performed. Apart from this, the only other play that I have of Berlioz is the remarkable Symphonie fantastique.
Wouw! What a surprisingly interesting and creative performance of this opera. I mean, Berlioz already had something futuristic - in his time! It's great that you have come up with something so extraordinary. Great!! Surprissimo !!!!
Lots to like here. Gergiev does a bang-up job, the orchestra does, too. Singers are first-rate with no real stinkers and the chorus shines. Sound is great! While the production borders on the ridiculous in many respects, the director and designer are entitled to their vision and there are actually some sublime moments. The music surmounts it all in any event, sweeping the nonsense along before it.
Narbal’s warning of the terrors still awaiting Carthage is accompanied by a black and white video of congested urban traffic: cars, buses, motorbikes…. Terrifying indeed!
I am absolutely sure, there should be both traditional and avant garde performances. Personally, l have nothing against this one. Looks up to date with this pandemia....
Какая музыка, какие (в большинстве) голоса! И в этом случае мне почти безразлична сомнительно-претенциозная сценография. Маэстро Гергиеву отдельное спасибо! Эней с его особым тембром голоса - откровенно не мой. Но это не главное для общего восторженного восприятия оперы в целом.
La musique, géniale, La dramaturgie de Berlioz aussi. Les interprètes, chant, chœur, orchestre, très bien mais Je ne suis pas sûr que les enfants apprécient cela plus que Lohengrin. C'est encore plus long ! Je ne suis pas sûr que les adultes mélomanes apprécient en soirée que les aires de jeu gonflables soient encore ouvertes.
😆😆😆 3:09:25 "Italie" I get it. Turned the most profound moment in the piece into pure camp. I'm in tears laughing at the absurdity. This is the "Lost in Space" version of Troyens. "Warning! Will Robinson. Warning"
A. Badiou, "Lógica de los mundos": "Es notable que en el punto de esta tormenta el romanticismo de Berlioz se ajuste exactamente a la visión virgiliana, lo que atestigua otra vez que la universalidad de las verdades se reconoce mas allá de la radical discontinuidad de su llegada en la logica del aparecer. Al dúo de amor del acto IV de Los troyanos precede, como lanzado en la opera, un largo fragmento sinfónico, una suerte de obertura esplendida, que recapitula la caza y la tormenta en un estilo orquestal tan innovador que sus sincopas y sus pulsaciones de batería evocan el uso que hace Gershwin del jazz. De tal modo, la música del siglo XIX, para alcanzar la potencia de las elipsis poéticas del romano, debe, esclarecida por la intuición del amor, preparar la del siglo XX. Hasta tal PREFACIO 49 punto es cierto que las verdades, mas allá de la Historia, entrelazan sus discontinuidades al filo de una sutil aleación de anticipaciones y retroacciones. Es as! como, en lo que concierne al encabalgamiento de los destellos del amor en el decorado cósmico, que significa su potencia de verdad, Berlioz se iguala a Virgilio."
20 years ago I bought the performance of the work that was made in Canada in 1993, with Gary Lakes and Deborah Voigt. Wonderful play. But I want to give this performance a chance. After all, Berlioz himself suffered because Les Trojens was not to the taste of the France of his time. And he knew the problems that would bring him. I'm surprised at the visual aspect of this performance, but I'll leave my judgments until I finish seeing the play.
I just keep going further and further into this wonderful music. What a cruel situation that Berlioz never saw a full performance during his lifetime (even though he could of course hear all the music in his head) I have to say though there were times when the costumes were a bit Flash Gordon. I half expected Brian Blessed to come along and do an Aria. But it doesn't detract from the musical genius that is Berlioz.
The costumes do look like they couldn't afford anything and everyone grabbed whatever they had on hand at home to wear, it's a bit distracting for me but this is still a wonderful rendition!
I'm still wondering where Gergiev got his reputation as an opera conductor from. Nothing I've heard from his doesn't sound fatally messy, and this is no exception.
Rather than waste time and money on these elaborate sci-fi visuals, to say nothing of the props and costumes, they should have doubled the musicians’ pay.
That was really great! I wonder though how could these people withstand watching this performance for more than 4 hours! This is the global average time for a Marathon! (Of course, one can always pay a little more money and watch it by installments, Act by Act. 😃They may even offer discounts for such cases.) I personally, however, had no problem. I was listening to it for its whole duration while working! 😃(Sometimes, taking breaks to also watch for a while!😃)
La mise en scène est abominable....belle la direction d'orchestre de Guergiev...les voix ne sont pas terribles....splendide musique, chatoyante, magnifique orchestration..La Cassandre de Norman c'était quand même autre chose....
Why do people who dislike modern stagings still watch them and then tell everyone who likes them that they hate them, even though we don’t care for their opinion? TH-cam is huge, if you don’t like this staging, go and find one you like better, watch that one instead and stop vomiting your small-mindedness all over the place.
And so often the criticism is limited to something like "This is a horrible travesty and an insult to Berlioz" without saying one word about why they feel that way.
What traditional staging might that be? I’ve yet to see one that actually uses the original setting. This and Medea are almost impossible to find set in the intended ancient world. Show me an example of a traditional staging and I’ll happily go there instead. Till then, you’ll just have to endure my bitching.
19세기 [프랑스] 오페라 베를리오즈 - [트로이 사람들] 1. [그랑 오페라] (Grand opera) [역사적]이거나 [낭만적인 비사실적 주제]로 구성 야생의 [자연환경]이나 [초자연적]인 요소 포함 다수의 [★중산층 청중 겨냥] [★화려하고 놀라운 무대효과 초점] 이국적이고 민속적 요소를 혼합
Il est déplorable que les metteurs en scène aient réussi à s'assurer une liberté totale soit-disant artistique, s'éloignant de l'oeuvre, de l'époque, du bon sens. Voyez donc ce que l'on a fait des opéras de Wagner à Bayreuth, alors que Wagner a laissé des cahiers de régie et de décors très détaillés pour tous ses opéras. N'allez pas me dire qu'il s'y entendait moins qu'um olibrius quelconque, qui ne veut que choquer!
There are so many other productions of Les Troyens that far surpass this travesty. As for the singers, Lance Ryan was in much better voice for the performances with Deborah Polaski.
ßonne nuit. Après "£e Carnaval Romain", du même berlioz, C. Uro nous offre un Carnaval troyen qui a plutôt l'air Martien 👾. Mais le public est conquis 🤓- il n'y a que cela compte disait Molière (("£a critique de l'Ecole des Femmes")).
Troyens always a challenge to stage. Berlioz had no care for the well being of his artistic director. For me, this doesn't work but well worth listening to musically. Not performed as often as deserved (for aforesaid reason). Dramatically intense, beautifully enunciated, at one with an orchestra where every player gives their all makes this a complete joy to listen to. Just switch off the video.
La mise en scène, les costumes et les décors sont vraiment kitsch ! Tout cela est vraiment ridicule ! La direction d'orchestre est excellente, quant aux chanteurs, chacun se fera sa propre opinion !
I can't believe that an opera can be so messed up. What an awful production . To me the singing was very good but for the rest, no. Can't even believe that Valery Gergiev would be involved with this. If you want to turn people away from opera then modernize it. I don't understand why producers and directors insist on modernizing operas. Hector Berlioz would be appalled.
I like the idea of replacing some tedious ballet with that boxing match (starting at 37:11). We know from a Minoan vase (16th cent. BC) that the ancients enjoyed boxing hundreds of years before the fall of Troy. Wrestling seems to have been even older. (You could boost male interest in opera almost across the board by substituting boxing and wresting matches for the uninspiring ballets plugged into many operas in order to satisfy the demands of the Paris Opera.) Otherwise this is a credible performance, except that the interferes with one's enjoyment of the production.
I'd better go back to the 70's and 80's productions... The soloists with microphones and these hockey costumes are less than optimal for this opera. Not to my taste.
Good Cassandre! For me, it hurts my eyes --I just want to listen: I find it ugly and pointless. The Classicism of the subject was important to Berlioz. He never intended an 'updating,' no matter how futuristic his musical ideas. I'm not against updating, but it must relate or present the original themes and concepts. I do like the massacre (end of Act II) But the rest -- why?
There is intelligent and in good taste 'modernized productions' and then there are those that are simply intended to become the talk of the town, however ridiculous and vulgar. This one is part of the last one. Not to mention that the singing is mediocre at best.
The clarinet solo from 38:31 - 44:45 is absolutely stunning. Has such a haunting sound with a light hearted feel in the middle but eventually ending off "perdendo" (dying away/losing). Amazing
Acte I :
Scène 1 : 2:05
Scène 2 : 6:00
Scène 3 : 14:52
Scène 4 : 31:30
Scène 5 : 36:55
Scènes 7 et 8 : 41:45
Scène 9 : 51:40
Scène 10 : 53:12
Scène 11 : 55:34
Acte II :
Scène 12 : 1:03:09
Scène 13 : 1:11:06
Scène 14 : 1:13:37
Scène 15 : 1:16:40
Scène 16 : 1:21:53
Acte III :
Ouverture : 1:27:25
Scène 17 : 1:31:16
Scène 18 : 1:32:45
Scène 19 : 1:34:42
Scènes 20, 21, 22 et 23 : 1:42:03
Scène 24 : 1:48:47
Scène 25 : 1:59:40
Scène 26 : 2:02:01
Scène 27 : 2:03:57
Scène 28 : 2:07:18
Acte IV :
Scène 29 : 2:15:40
Scène 30 : 2:25:04
Scène 31 : 2:28:47
Scènes 32 et 33 : 2:33:35
Scène 34 : 2:44:20
Scène 35 : 2:51:06
Scène 36 : 2:56:42
Scène 37 : 3:00:57
Acte V :
Scène 38 : 3:10:47
Scène 39 : 3:16:42
Scène 40 : 3:19:21
Scène 41 : 3:21:27
Scène 42 : 3:28:16
Scène 43 : 3:30:12
Scène 44 : 3:32:18
Scène 45 : 3:37:24
Scène 46 : 3:40:36
Scène 47 : 3:44:51
Scène 48 : 3:47:42
Scène 49 : 3:50:55
Scène 50 : 3:55:13
Scène 51 : 3:58:38
Thank you so much
Merci beaucoup!
And for Star Trek fans, what you are looking for is at 3:10:45
Wow, Star Trek: First Contact used the 25 most interesting seconds of this opera. The rest of it is just boring. The unchanging instrumentation and vocalization becomes repetitive after a few minutes. How can a 6-minute long piece have 1 climax? I’ll stick to music from The Red Army Choir.
Thank you, I came here because of Star Trek and stayed for the Opera. I actually own two versions of Les Troyens now. I have Sir Collins Davis and the John Nelson recordings (I also have The Damnation of Faust conducted by John Nelson). If by chance, you have a better recommendation for listening, I would most appreciate it. Again I appreciated the Timestamp, but I just no longer need it.
@@jchawkenspoet3099 The version that I have of Les Troyens is a 1994 version of Decca Records which was directed by the Swiss Charles Dutoit and tenor Gary Lakes in the leading role. It's a pretty good version and I can recommend it to you, but the one that you have of Colin Davis is legendary, because I think it was the first recording in which the 5 acts of this opera were performed. Apart from this, the only other play that I have of Berlioz is the remarkable Symphonie fantastique.
You read my mind
The good thing with TH-cam is: you can open another tab to watch something worthwhile while listening to this video.
…. or if you’re watching on your desktop just turn off the screen.
Bravo genial grandiose music opera
Colossal. Vive le Gran Hector!
Thanks for posting a Berlioz opera with subtitles I can read. The orchestra sounds quite good.
Opera molto bella, voci di livello ma.... regia terrificante, costumi e scenografia ridicoli!. Povero Berlioz!!!!!
Wouw! What a surprisingly interesting and creative performance of this opera. I mean, Berlioz already had something futuristic - in his time! It's great that you have come up with something so extraordinary. Great!! Surprissimo !!!!
Spektakuläre Inszenierung! Thank you for sharing!
Lots to like here. Gergiev does a bang-up job, the orchestra does, too. Singers are first-rate with no real stinkers and the chorus shines. Sound is great! While the production borders on the ridiculous in many respects, the director and designer are entitled to their vision and there are actually some sublime moments. The music surmounts it all in any event, sweeping the nonsense along before it.
Non le réalisateur et le designer n'ont pas droit à leur vision ! La seule vision légitime est celle de Berlioz telle qu'indiquée dans le livret !
I don't know what's the deal with the hockey equipment either, but I like the digital backgrounds and the corpses at the beginning are very effective.
Quel tintamarre ! C'est bordélique à souhaits...
This is freaking sublime.
What I love about this is finally seeing Berlioz as Berlioz intended 😄
Narbal’s warning of the terrors still awaiting Carthage is accompanied by a black and white video of congested urban traffic: cars, buses, motorbikes…. Terrifying indeed!
I am absolutely sure, there should be both traditional and avant garde performances. Personally, l have nothing against this one. Looks up to date with this pandemia....
I'm all for creative re-staging, but this has taken Berlioz to a weird place. Outer space.
Fairly certain Berlioz has already been there in a certain Starfleet captain's quarters...
@@iowadrummer7 For some second, yes.
The new Doctor Who Opera looks and sounds amazing.
I was lead here by Star Trek btw.
Какая музыка, какие (в большинстве) голоса! И в этом случае мне почти безразлична сомнительно-претенциозная сценография. Маэстро Гергиеву отдельное спасибо!
Эней с его особым тембром голоса - откровенно не мой. Но это не главное для общего восторженного восприятия оперы в целом.
La musique, géniale, La dramaturgie de Berlioz aussi. Les interprètes, chant, chœur, orchestre, très bien mais
Je ne suis pas sûr que les enfants apprécient cela plus que Lohengrin. C'est encore plus long !
Je ne suis pas sûr que les adultes mélomanes apprécient en soirée que les aires de jeu gonflables soient encore ouvertes.
😆😆😆 3:09:25 "Italie" I get it. Turned the most profound moment in the piece into pure camp. I'm in tears laughing at the absurdity. This is the "Lost in Space" version of Troyens. "Warning! Will Robinson. Warning"
Our great Elisabete Matos.
Act III takes place in the Atlas detector of the LHC for some reason
A. Badiou, "Lógica de los mundos":
"Es notable que en el punto de esta tormenta el romanticismo de
Berlioz se ajuste exactamente a la visión virgiliana, lo que atestigua
otra vez que la universalidad de las verdades se reconoce mas allá de
la radical discontinuidad de su llegada en la logica del aparecer. Al
dúo de amor del acto IV de Los troyanos precede, como lanzado en la
opera, un largo fragmento sinfónico, una suerte de obertura esplendida,
que recapitula la caza y la tormenta en un estilo orquestal tan innovador
que sus sincopas y sus pulsaciones de batería evocan el uso que
hace Gershwin del jazz. De tal modo, la música del siglo XIX, para
alcanzar la potencia de las elipsis poéticas del romano, debe, esclarecida
por la intuición del amor, preparar la del siglo XX. Hasta tal
PREFACIO 49
punto es cierto que las verdades, mas allá de la Historia, entrelazan
sus discontinuidades al filo de una sutil aleación de anticipaciones y
retroacciones. Es as! como, en lo que concierne al encabalgamiento de
los destellos del amor en el decorado cósmico, que significa su potencia
de verdad, Berlioz se iguala a Virgilio."
20 years ago I bought the performance of the work that was made in Canada in 1993, with Gary Lakes and Deborah Voigt. Wonderful play. But I want to give this performance a chance. After all, Berlioz himself suffered because Les Trojens was not to the taste of the France of his time. And he knew the problems that would bring him. I'm surprised at the visual aspect of this performance, but I'll leave my judgments until I finish seeing the play.
Plase put turkish title for understand me
Extraits :
Scène 15 : 1:20:03 - 1:21:08
Scène 29 : 2:18:17 - 2:19:27
2:20:03 - 2:21:07
Scène 37 : 03:01:03 - 3:01:33
Scène 50 et 51 : 3:56:42 - 4:01:04
追加。「スタートレック・ファーストコンタクト」で、左遷され失意のピカード艦長が、このオペラで最も美しい「水夫の歌」を聴いて自らを慰めている場面が印象深い。宇宙遊泳しながらだと更に実感が増すw
I just keep going further and further into this wonderful music. What a cruel situation that Berlioz never saw a full performance during his lifetime (even though he could of course hear all the music in his head) I have to say though there were times when the costumes were a bit Flash Gordon. I half expected Brian Blessed to come along and do an Aria. But it doesn't detract from the musical genius that is Berlioz.
The costumes do look like they couldn't afford anything and everyone grabbed whatever they had on hand at home to wear, it's a bit distracting for me but this is still a wonderful rendition!
The costumes were brought to you by Bauer... would have been funny to see a penalty called.
@@JSLEnterprises The costumes are by whom? Sorry, I don't know who Bauer is..
Good thinking to put the Prelude of Troyen a Carthage. I hope it will be a standard
I'm still wondering where Gergiev got his reputation as an opera conductor from. Nothing I've heard from his doesn't sound fatally messy, and this is no exception.
Huh?
You wouldn't say that if you'd heard his Otello here at the Met back in 2004. Superb.
Nothing messy here., but your personal bias masking as serious musical critique..
@@bloodgrss We disagree. I can live with that.
Musically fabulous, visually absurd, directorially abysmal.
Rather than waste time and money on these elaborate sci-fi visuals, to say nothing of the props and costumes, they should have doubled the musicians’ pay.
@@lizzyborgYou are right !
That was really great!
I wonder though how could these people withstand watching this performance for more than 4 hours! This is the global average time for a Marathon!
(Of course, one can always pay a little more money and watch it by installments, Act by Act. 😃They may even offer discounts for such cases.)
I personally, however, had no problem. I was listening to it for its whole duration while working! 😃(Sometimes, taking breaks to also watch for a while!😃)
You should try 4 nights of Wagners ring
futuristic
Why would somebody who obviously hates this opera spend all that time producing it?
La mise en scène est abominable....belle la direction d'orchestre de Guergiev...les voix ne sont pas terribles....splendide musique, chatoyante, magnifique orchestration..La Cassandre de Norman c'était quand même autre chose....
Why do people who dislike modern stagings still watch them and then tell everyone who likes them that they hate them, even though we don’t care for their opinion? TH-cam is huge, if you don’t like this staging, go and find one you like better, watch that one instead and stop vomiting your small-mindedness all over the place.
And so often the criticism is limited to something like "This is a horrible travesty and an insult to Berlioz" without saying one word about why they feel that way.
This futurisk staging is not what the composer intende an not what i want. But finding good authentic performances is not at all easy.
What traditional staging might that be? I’ve yet to see one that actually uses the original setting. This and Medea are almost impossible to find set in the intended ancient world. Show me an example of a traditional staging and I’ll happily go there instead. Till then, you’ll just have to endure my bitching.
Mise en scène sordide, voix outrancières, jamais nuancées, à fuir absolument!
SPACE ODINNNNNNNNNNNNNN
演出はボロクソ言われているが、日本人としては解体された木馬の腹がナガサキ型原爆の形をしていたのはショックだった。そういえばトロイの人々が身に着けている「プロテクター」にはヒノマルが······
Same old Fura des Baus.
Why did they make Carthage and Queen Dido look so ridiculous, I wonder?
And the costumes in general are made to appear ridiculous! The totally ugly runway modeling around 2:30.
37m...pauvre Berlioz...tu te retournes dans ta tombe.
De la boxe???
what happened 1:43:04-1:44:17?
2:22:00
1:27:45 Les Troyens à carthage
How embarrassing
19세기 [프랑스] 오페라
베를리오즈 - [트로이 사람들]
1. [그랑 오페라] (Grand opera)
[역사적]이거나 [낭만적인 비사실적 주제]로 구성
야생의 [자연환경]이나 [초자연적]인 요소 포함
다수의 [★중산층 청중 겨냥] [★화려하고 놀라운 무대효과 초점]
이국적이고 민속적 요소를 혼합
Such unfortunate staging and costumes. Almost destroys Berlioz's beautiful music--except that I can close my eyes.
Il est déplorable que les metteurs en scène aient réussi à s'assurer une liberté totale soit-disant artistique, s'éloignant de l'oeuvre, de l'époque, du bon sens. Voyez donc ce que l'on a fait des opéras de Wagner à Bayreuth, alors que Wagner a laissé des cahiers de régie et de décors très détaillés pour tous ses opéras. N'allez pas me dire qu'il s'y entendait moins qu'um olibrius quelconque, qui ne veut que choquer!
En Allemand, cela s'appelle "Narrenfreiheit".
Vous avez mille fois raison !
There are so many other productions of Les Troyens that far surpass this travesty. As for the singers, Lance Ryan was in much better voice for the performances with Deborah Polaski.
ßonne nuit.
Après "£e Carnaval Romain", du même berlioz, C. Uro nous offre un Carnaval troyen qui a plutôt l'air Martien 👾.
Mais le public est conquis 🤓- il n'y a que cela compte disait Molière (("£a critique de l'Ecole des Femmes")).
Post Scriptum :
£e Palau de £es Arts, de Santiago Calatrava, est un prodige d'Architecture ; intérieure et extérieure……… comme d'habitude.
Que fantochada!!!
Les Troyens meat Star Wars :)
Igor, "meet" Spell-check! Every Web browser has this feature; activate yours in English when posting comments, товарищ!
Care altă rețetă rețete de care tăiței Care este județ și ce interesează de ceva
Troyens always a challenge to stage. Berlioz had no care for the well being of his artistic director. For me, this doesn't work but well worth listening to musically. Not performed as often as deserved (for aforesaid reason). Dramatically intense, beautifully enunciated, at one with an orchestra where every player gives their all makes this a complete joy to listen to. Just switch off the video.
La mise en scène, les costumes et les décors sont vraiment kitsch ! Tout cela est vraiment ridicule !
La direction d'orchestre est excellente, quant aux chanteurs, chacun se fera sa propre opinion !
I can't believe that an opera can be so messed up. What an awful production . To me the singing was very good but for the rest, no. Can't even believe that Valery Gergiev would be involved with this. If you want to turn people away from opera then modernize it. I don't understand why producers and directors insist on modernizing operas. Hector Berlioz would be appalled.
Very sad that this, one of the greatest of all operas, is beset with such a weird, disrespectful production [visually].
I do not think it's disrespectful. But I must admit that I was also rather shocked. And confused. But not entirely in a negative way :)
I like the idea of replacing some tedious ballet with that boxing match (starting at 37:11). We know from a Minoan vase (16th cent. BC) that the ancients enjoyed boxing hundreds of years before the fall of Troy. Wrestling seems to have been even older. (You could boost male interest in opera almost across the board by substituting boxing and wresting matches for the uninspiring ballets plugged into many operas in order to satisfy the demands of the Paris Opera.) Otherwise this is a credible performance, except that the interferes with one's enjoyment of the production.
I'd better go back to the 70's and 80's productions... The soloists with microphones and these hockey costumes are less than optimal for this opera. Not to my taste.
What a ridiculous production.
Production design is absolute garbage.
Just pure filth.
It's "Énée" not "Fee" or "Enee"; how hard is it to spell roles correctly?
Well, it took you 3 attempts.
and it's "rolls", stupid.
@@freewheeler8924 Nah, it ain't: "a small role in the film: part; character, cameo
Good Cassandre! For me, it hurts my eyes --I just want to listen: I find it ugly and pointless. The Classicism of the subject was important to Berlioz. He never intended an 'updating,' no matter how futuristic his musical ideas. I'm not against updating, but it must relate or present the original themes and concepts. I do like the massacre (end of Act II) But the rest -- why?
There is intelligent and in good taste 'modernized productions' and then there are those that are simply intended to become the talk of the town, however ridiculous and vulgar. This one is part of the last one. Not to mention that the singing is mediocre at best.
SlavaUkraini!
Vi musor
Encore une diction incompréhensible