Elina Garanca - Carmen | Bizet 🎬
ฝัง
- เผยแพร่เมื่อ 1 ก.ค. 2021
- Carmen - Elīna Garanča
Don José - Valter Borin
Escamillo - Egils Siliņš
Micaela - Kristīne Opolais
Frasquita - Kristīne Gailīte
Mercedes - Andžella Goba
Le Dancaïre - Nauris Puntulis
Le Remendado - Andris Lapiņš
Zuñiga - Krišjānis Norvelis
Moralès - Rihards Mačanovskis
Orquesta & Coro - Ópera Nacional de Letonia - LNO orķestris
Conductor - Karel Mark Chichon
Director de escena - Andrejs Žagars
Riga
05-OCT-2007 - เพลง
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There is only one word to describe Elina... Magnificent!
An excellent production, set in Havana, Cuba in the modern era. Very cleverly done, a very vibrant work, congratulations to all. Elīna Garanča is the sexiest Carmen today, she has captured the essence of that role. A delight to see.
From Elina's autobiography (which I HIGHLY recommend) this is her debut production as Carmen. She chose to launch the production in Riga to show appreciation to her hometown.
Как здорово!!! Огромное спасибо.
Ok. AFTER seeing so many performances of this fantastic creation of Bizet Opera Composer, it's time to share my impressions of this particular one.
1. Singing. ALL Performers are top notch.
2. Acting. Now that's a huge point: everybody performing here is not only knowledgeable of the part, but also very competent at transmitting both scenically as well as voicing the emotional content.
3. Orchestra and Maestro: Very, very good!
4. The Cuban environment. Not needed at all... But it's ok, what matters is that both choreography and movements are in tune. Fuck the regionalization, it is ok, have your fun, dudes, you've not screwed mine, so... Ok.
5. DRAMA: kept. That was this Opera's spirit... So, OK.
6. ONE LITTLE POINT: Escamillo. A Boxer?... Yeah, I know Cubans don't love bullfights... But "erasing" the fact that Sevilla is in Spain... Ans Toreador was a male model... well, a bit not needed, IMHO, whatever.
In summary:
Except for geographic influence, STILL A GREAT, GREAT PERFORMANCE!
I'm a huge fan of the 2009 version at the Met. But this one is great too! It doesn't have the choreography the other versions have which was kind of missing here. But the set design is fabulous and the singers are all fantastic! So I give this one a big thumbs up. Especially the ending scene was very clever and well done! Bravo!
I had no idea there was a recording of this production. Thanks for the upload!
Encore une mise en scène épouvantable Houuuuuuuuuuuuuuuuuuuuuuuuuuuuuu
Elina Garanca ❤️🔥❤️🔥❤️🔥
elina garanca efficace et charmante pour le reste mise en scene grotesque et laide cela devient une sorte de mode pour les snobs de notre epoque
Wonderful Elina Garanca❤️❤️❤️👏👏👏
Thank you sharing this video so much! I was looking for this so long time!
Dear Ms. Caranča, in this version of your portrayal of Carmen you surpass yourself!
Such a vibrant and spirited production. Thank you very much.
Original. Y como sea, la presencia de Elina enaltece la representación aun más
Garanca! Her power sweet voice!!
She is the best! Es la mejor❤
Maravilhosa interpretação
Elina Garanca na każdej scenie i w każdej scenografii jest jedyną i niepowtarzalną. A Carmen w jej wykonaniu nie ma sobie równych. Brava, brava. Bellissima.
Widziałam Elinę jako Carmen na żywo w Metropolitan Opera New York , w duecie z Roberto Alagna była doskonała. Ten Don Jose mnie nie zachwyca. Kristine Opolais także bardzo dobra, szkoda , ze w USA juz prawie nie występuje.
Outstanding Conductor.... !!!🎩
Bravo !
a mi si me gusto mucho la version el montaje, muy divertido y picante, como es el espiritu de la opera, y me gusto mucho tmb a la sra garanca como una morena caribe y no la rubia europea de toda la vida
Thanks for sharing!
¡único y enorme!
Hermoso 🤩
Thank you for sharing!
Beautiful singing Carmen (Elina Garanca) but i like the traditional clothing much more that is the real opera
Me too, love Carmen from Vienna Opera with Obraztsova , conducted by Kleiber, I can't stand these sets and costumes.
@@BytomGirl I think it's more interesting to have different versions now and then, especially if you enjoy a certain lead. Always repeating one and the same (set and costume) gets boring pretty quick and the classic version already exists for a long long time and will continue with or without modern twists.
Yes, it doesn't go with the music nor the style of the language.
@@reilly6688 Sets, costumes and direction don't need to be the same. A talented, creative director with his collaborators can give something that is fresh without completely distorting the composer's and librettist's intentions. Let's not forget that those are the main creators of what we see.
считал. что кармен Гаранчи лучшие в метрополитене и парижськой опере, но в рижской мне понравилось больше всех . конечно можно говорить, что об этом может рассуждать тот кто видел эти оперы живьем, но что имеем тем и богаты
Bravi !
Какой кайф, я так рад, что нашёл данный экземпляр! Тут ещё звук так смешно сшакалило, на фортиссимо прям дисторшн, после которого скомпрессированный хвост ревера - слушаю и балдею. ♥
рев авиодвижка отдавил мне ухо, но в рижской опере я опять почувствовал атмосферу Кубы и переложение на современный лад гармонично вписался в реальности Кубы, также выиграшно смотрелись и слушались артисты стран Балтии, кстати в рускомовном середовыще сообщалось что это была провальная постановка, может это был крытик такой, но поломаные велосипед , мотоцыкл , человеческие судьбы,, портреты чегевары это по кубински круто.
Good thing I know the libretto well, because I don’t understand the subtitles😅. Usually I can understand most Slavic language, because I know Polish and I studied Russian, but Latvian is different.
Well, Latvian is not a Slavic languange...
@@josefk3233 that’s what said , it doesn’t sound like the Slavic languages I can understand.
Perece una versión de Carmen Jones Carmen la cubana
Jajajaja 🤣
Izcila izrāde, izcili solisti. Elīna. izcila Karmena.
Why is this set in Cuba? 😳
Why? Because an ignorant but narcissistic stage director ran out of ideas!
Política ?
Kā vienmēr lielisks sniegums, man liekas šo lomu neviens tik patiesi un kaisligi nevar pasniegt kā E Garančas k-dze.
I absolutely love the costume design here 🧡🔥
Questa pessima edizione è stata portata, purtroppo, anche al Teatro Comunale di Bologna, i commenti del pubblico erano terribili, eppure....comunque è l'ennesima schifezza, non c'entra nulla con quanto scritto sul libretto...ormai non si sa più cosa inventare per rovinare l'opera lirica 👎👎👎👎👎
Condivido pienamente quando non si hanno idee si fanno schifezze certi registi e scenografi dovrebbero metterli in galera per oltraggio alla opera lirica peccato per i cantanti
Not bad, but the version with Roberto Alagna is ten times better... :)
Мотоцикл Урал
The whole point of opera is that it's not a song recital, a concert, but music combined with theatre. The theatrical part of it, what you see, is very important. And the choices you make. But the two, musical part and visual part, should be matching, not contrasting.
The music was written in the 19th century, it's 19th century music. The language as well, is not how modern people would speak. And the libretto says certain things which you cannot disregard.
I watched a Boème where Rodolfo says that he's so cold that he will burn the play that he just wrote in order to feed the fire for a little while. But we see hiim write his play on a laptop, so what on earth will he burn? The director or whoever came up with this concept just couldn't care less for what the actual text was saying. If it didn't match the setting, well, who cares, it's sung in a different language anyway, right? Who will notice?
This one is the same. You hear about a toreador but you see a boxer. You hear that Carmen plans to go to "les remparts de Seville" to dance the seguidilla and the main lead sings about the dragons of Alcala, but you see Cuba of the '70s. He also sings of a flower she threw at him, that although faded and dry, still had its sweet smell. Too bad that the flower she threw at him was a plastic one, taken from one of her flip-flops.
But, most of all, what's most jarring is the romantic era music which sounds absurd in the modern setting. That setting would need modern music to function well, as well as a different libretto, even if based on the same plot. Then it might have been a valid alternative original work, inspired by Mérimée's story. And, to be honest, they should also find another title so that people don't get confused. What was successfully done with "Carmen Jones" and also "West Side Story", based on Shakespeare's Romeo and Juliet. Or "My Beloved", a Korean TV-series inspired by "Gone With the Wind". Adaptations are perfectly okay and may be very good, and become classics in their own right. So if you have an idea like this, please write your own play or musical or whatever, and let Bizet's "Carmen" alone.
There are plenty of ways to be a creative director or set/costume designer without vandalizing the original. And when you see a production like this, no matter how proficient the singers, orchestra and conductor, it leaves you a bad taste. You sort of feel sorry for them, to have been involved in this farce.
I disagree with you completely - in contrast to the way I usually feel. I just came from the video made at the Arena di Verona, which I liked very much - but Latvia is a completely different story! The truth is the other way around: this production makes Bizet sound like modern music - and this is practically a REDEMPTION from what has passed for "New Music" for over 100 years and still has been unable or unwilling to touch the hearts of the listeners! Garanca is much more alive here even than in Verona, where she was already superb - the production seems to be very much to her liking - This is perhaps the first time that I have felt electrified by anything that would generally be considered "modern"! A propos: in Verona, the children's chorus near the beginning is marching around with FRENCH flags, but the opera is originally set in Spain??? The production could theoretically be trying to reconstruct the premiere of the opera in Paris - but there is no hint of any such thing elsewhere in it!
Very astute analysis.
@@fredrickroll06 I agree with you on one point: Garanca seems indeed to be much more at ease here than in other productions, and it's very possible that she liked it very much for the acting opportunities it gave her. But that's irrelevant to the whole discussion - although of course one may feel sorry that other productions/directors didn't inspire that vibe in her.
Good critique. Watching this in Latvia was painful. The production and set are tacky, kind of bordering farce and racist too.
Latvia either gets it soooooo right or so badly wrong. No doubt Elina is stunning as always but give me her 2010 Carmen in The Met any day. That was the most amazing Carmen ever and I have 23 years in opera.
Sou simplesmente apaixonada por essa Ópera. e concordo plenamente c sua opinião. Essa montagem na minha humilde opinião não ficou bem. embora a Sra. Garança realmente parecia muito vibrante mesmo nessa versão.
Большущее спасибище!
The best ever Carmen, but I hated the production. What I mean is that Elina is the best Carmen I have ever seen. I don't think Bizet would have liked it.
Great Opera with great singers, but the Cuban setting is pretty lame.
Elina is such a beautiful woman, but the makeup here takes away from her natural beauty.
Check out the Mets version, now there is something to behold.
You are looking at Carmen NOT at Eline. Opelais the same. She is here Michaela. Great staging. Both great singers and beautyful women.
Ona jest dla mnie aseksualna
Excelente voz de Elina Garanca, Valter Brin muy solido y el resto también.
Pero la producción ambientada en Cuba es horrible, e impropia, porque sigue cantando "Près des remparts de SEVILLE..." "Je suis Escamillo, Torero de GRENADE!" "Halte-là! Qui va là? Dragon d'Alcala!" que son claras referencias a ciudades españolas: Sevilla, Granada, Alcalá; lo cual hace pensar que el encuentro entre Carmen y Don José del 2do acto debiera realizarse al otro lado del océano, en Europa.
Las pelucas de cabello negro tampoco ayudan. En todo caso, en Cuba hay muchas mujeres rubias, así que era innecesario maquillar y empelucar al coro para representar a LATAM.
¿Y por que se echan una lambada al principio del acto 2, si la lambada es de Brasil, no de Cuba?
Por otro lado, Escamillo canta el: Toreador, en garde! y en el 4to acto se describe paso a paso a los chulos, banderilleros y al matador, el spada, y todo eso es de las corridas de toros en España, no del Boxeo en ningún lado.
¿Qué por que la veo? Por la cantada, obvio. Porque es hermosa la música de Bizet.
Pero esta puesta en escena es un insulto al buen gusto y resulta incoherente con lo que cantan.
Vuelvan a Sevilla y respeten a Bizet. La heroina de Merimé vive en España, no en cuba.
BRAVO!!!
No señor, esas son las liberades que se toman los escenografos y que enriquecen la opera, todas las puestas en escena van por el mismo camino
@@maucort_coldesgraciadamente, sobre todo en los últimos años, los amantes y respetuosos de la ópera, nos hemos encontrado con cosas espantosas cuando se abre el telón. No señor, la ópera no debe quedar librada a lios caprichos del director de escena. Repito lo que dije: Carmen es española, nacida en Triana, trabaja y baila en Sevilla. Así la imaginó Merimé, así compuso la música Bizet, y así figura en el libreto. Respeten a los autores y compisitores, y respeten al público.
carmen gitana, don jose guardia civil, escamillo torero, eso ya lo han hecho como 10 mil veces, el mismo sonsonete, es constumbre de las escenificaciones modernas volver a don giovanni un traficante o un yupy de ny, a papageno un animalista, esas cosas en apariencia rompen con el libreto y la idea oroginal, pero es que los musndo en los que se concibieron ya no exusten es licito que el arte se adecue tmb a las realidades modernas, eso es lo que lo mantiene vivo y no lo convierte en pieza de arqueologia, de una pasado que ya no existe
@@maucort_col Sì pero el libreto menciona Sevilla y otras cosas. No puedes olvidar lo que es escrito/cantado, o lo estilo de la música.
it seems they didnt know the story takes place in spain...
Escamillo is a boxer instead of a Matador. That is a nice change.
That's not new: it was the same in "Carmen Jones", a modernised reimagined version with English libretto by Oscar Hammerstein II. There is a 1954 movie with Dorothy Dandridge and Harry Belafonte - look it up, it's... well, interesting :)
@@andykhodak I have. It is one of my favorites.
@@andykhodak If you have different libretto and different music, you can do whatever you want, no problem. Like with West Side Story which was inspired by the plot of Romeo and Juliet, and was a masterpiece!
@@irmar "Carmen Jones" used the same music by Bizet, only the lyrics were rewritten. And I'm not saying anything about its values, I only mentioned that the idea of using a boxer instead of a torero was not invented in this production but rather borrowed from that version (where, of course, it looked more appropriate).
P.S. WSS is, of course, ❤
@@andykhodak Oh, I didn't know that, I haven't watched it. I thought it was like the West Side Story concept, completely different.
Awful, Hispanoamerica no es asi! romper paradigmas
This is the worst production of Carmen I ever saw. Far too modernized. It needs to be more ethentic.
lol, what the fugg is "ethentic?" How can it be more like a word that doesn't exist, lol. This is FAR from the worst production of Carmen....clearly what you've seen consists of limited data. The music and singing herein is excellent - that alone puts it head and shoulders above most productions. The costuming and staging that you may not prefer is merely a portion of the production.
@@waldolydecker8118 I agree. There are quite a few videos of Garanca performances. This one shows a realistic amoral gypsy girl, dangerous from the word go. The Cuban setting I think is very well done,
@@waldolydecker8118 You spent a lot of time being sarcastic about a typo. Yes, there may be worse productions, but here he means the concept of the staging, regardless of the musical part, which is indeed good. But opera is not music, it's music with theatre, that's its whole point, otherwise we would go and listen to song recitals. In opera what you see is an important, integral part of the whole experience, not a mere portion.