This is probably my greatest operatic memory; Paris in 1972; the distribution below gives an idea of what this could have been! Distribution the night I saw it: Musical direction: Karl Böhm Der Kaiser (The Emperor) James King Die Kaiserin (The Empress) Leonie Rysanek Die Amme (The Nurse) Ruth Hesse Barak Walter Berry Seine Frau (Barak's Wife) Christa Ludwig Der Geisterbote (The Messenger of Spirits) Jean-Pierre Laffage Die Erscheinung eines Jünglings (Appearance of a young man) Albert Lance Die Stimme des Falken (The Voice of the Falcon) Helen Garetti Ein Hüter der Schwelle des Tempels (The Guardian of the Temple Threshold) Helen Garetti Eine Stimme von oben (The Voice from Above) Nadine Denize Der Einäugige (The One-Eyed Man) Raymond Steffner Der Einarmige (The Penguin) José Delfont Der Bucklige (The Hunchback) Remy Corazza Eine Stimme der Wächter der Stadt (A Guardian’s Voice) Jean-Claude Darcey, Michel Llado, Michel Philippe Eine Stimme (A Voice) Eine Kinderstimme (A Child's Voice) The young man : Jean-Pierre Bonnefous (danseur étoile de l'opéra de Paris) At each act the cast and the conductor received a long standing ovation. We are far from the horrors that current operas have the arrogance to show on their stages with the complicity of conductors and singers without the slightest scruple or respect for the works that they have the OBLIGATION to serve and not to USE FOR THEMSELVES to their misplaced ego! The current public is itself accomplice in this system; if he had especially in Paris, Munich, Berlin or even Bayreuth, the courage to leave the room as soon as the curtain rose for such nonsense perhaps that masterpieces would finally be given respecting libretto and music and above all composers. For my part, I won't set foot in the Paris Opera again, I won't even pay for a place in the henhouse to close my eyes! There were quality modernized productions but made by performers who had studied the libretto in depth and did not embark on "rereadings" for the pleasure of being talked about. The libretto is as important as the score. Opera is sung theater, there is a text, a story which must be coherent with the staging. The director has absolutely no right on the work done by artists who are much more competent than him in the matter and were irreplaceable geniuses. They will still be talked about for decades, the poor directors will be forgotten even before the century comes to an end.
Act I: 25:50 to 1:28:57 Act II: 1:55:03 to 2:51:25 Act III: 2:55:23 to 3:51:10 Act III has several cuts, almost 10 minutes. At 3:45:53, during the final quartet, the video switches to a montage of photos taken throughout the performance. The video returns to the performance just before the final chorus.
Vielen Dank für diesen Mitschnitt, den ich bisher nur in inferiorer Bildqualität besaß. Allerdings handelt es sich um eine Übertragung der Wiederaufnahme dieser Inszenierung vom 1. und 2.11.1978. Die Premiere vom 13.12.1975 (so weit ich weiß die schwedische Erstaufführung) wurde von dem Kabel STERLING auf CD veröffentlicht, damals sang Walter Berry den Barak. Mit der Bitte um Nachsicht für diese Beckmesserei und herzlichen Grüßen, Martin Parent
Dear Leskov! Thank you so much for letting me see this outstanding performance! Best regards Boris
Che meraviglioso capolavoro !
My favorite Strauss opera with Brigitte Nilsson. It couldn't get better.
Birgit. Brigitte came to prominence as an actress when those Conan movies by Schwarzeneggar were gaining popularity.
😅@@dimitrovajunkie
This is probably my greatest operatic memory; Paris in 1972;
the distribution below gives an idea of what this could have been!
Distribution the night I saw it:
Musical direction: Karl Böhm
Der Kaiser (The Emperor) James King
Die Kaiserin (The Empress) Leonie Rysanek
Die Amme (The Nurse) Ruth Hesse
Barak Walter Berry
Seine Frau (Barak's Wife) Christa Ludwig
Der Geisterbote (The Messenger of Spirits) Jean-Pierre Laffage
Die Erscheinung eines Jünglings (Appearance of a young man)
Albert Lance
Die Stimme des Falken (The Voice of the Falcon)
Helen Garetti
Ein Hüter der Schwelle des Tempels (The Guardian of the Temple Threshold)
Helen Garetti
Eine Stimme von oben (The Voice from Above)
Nadine Denize
Der Einäugige (The One-Eyed Man)
Raymond Steffner
Der Einarmige (The Penguin)
José Delfont
Der Bucklige (The Hunchback)
Remy Corazza
Eine Stimme der Wächter der Stadt (A Guardian’s Voice)
Jean-Claude Darcey, Michel Llado, Michel Philippe
Eine Stimme (A Voice)
Eine Kinderstimme (A Child's Voice)
The young man : Jean-Pierre Bonnefous (danseur étoile de l'opéra de Paris)
At each act the cast and the conductor received a long standing ovation. We are far from the horrors that current operas have the arrogance to show on their stages with the complicity of conductors and singers without the slightest scruple or respect for the works that they have the OBLIGATION to serve and not to USE FOR THEMSELVES to their misplaced ego! The current public is itself accomplice in this system; if he had especially in Paris, Munich, Berlin or even Bayreuth, the courage to leave the room as soon as the curtain rose for such nonsense perhaps that masterpieces would finally be given respecting libretto and music and above all composers.
For my part, I won't set foot in the Paris Opera again, I won't even pay for a place in the henhouse to close my eyes! There were quality modernized productions but made by performers who had studied the libretto in depth and did not embark on "rereadings" for the pleasure of being talked about. The libretto is as important as the score. Opera is sung theater, there is a text, a story which must be coherent with the staging. The director has absolutely no right on the work done by artists who are much more competent than him in the matter and were irreplaceable geniuses. They will still be talked about for decades, the poor directors will be forgotten even before the century comes to an end.
Amen!
Swedish soprano Birgit Nilsson sings a low F in 1:15:07.
Thank you! Wonderful...
Bravo Klobucar!!!!!!!!!!!!!!!!!
Important document, indeed....❤❤❤
Act I: 25:50 to 1:28:57
Act II: 1:55:03 to 2:51:25
Act III: 2:55:23 to 3:51:10
Act III has several cuts, almost 10 minutes.
At 3:45:53, during the final quartet, the video switches to a montage of photos taken throughout the performance. The video returns to the performance just before the final chorus.
Excellent ❤❤❤
Vielen Dank für diesen Mitschnitt, den ich bisher nur in inferiorer Bildqualität besaß.
Allerdings handelt es sich um eine Übertragung der Wiederaufnahme dieser Inszenierung vom 1. und 2.11.1978.
Die Premiere vom 13.12.1975 (so weit ich weiß die schwedische Erstaufführung) wurde von dem Kabel STERLING auf CD veröffentlicht, damals sang Walter Berry den Barak.
Mit der Bitte um Nachsicht für diese Beckmesserei und herzlichen Grüßen,
Martin Parent
30:46 ❤️❤️
42:00 ❤️❤️
1:15:06 ❤❤
What note is?
@@jerryalbertleonmendoza1858 low F - F3
1:15:09 F3!
What year is this? One comment says 1972 and the other says 1975
Actually it would be better if I would spell Birgit correctly,