OTELLO - Verdi | Alagna-Mula-Ko--Chung à Orange (Full - Complet)
ฝัง
- เผยแพร่เมื่อ 12 ก.พ. 2018
- Chorégies d'Orange - 5 August 2014 - 5 août 2014
Otello - Roberto Alagna
Desdemona - Inva Mula
Iago - Seng-Hyoun Ko
Cassio - Florian Laconi
Emilia - Sophie Pondjiclis
Lodovico - Enrico Iori
Rodrigo - Julien Dran
Montano - Jean-Marie Delpas
Un Araldo - Yann Toussaint
Orchestre Philharmonique de Radio France
Chœurs des Opéras de Région
Music Director - Myung Whun Chung
Staging - Nadine Duffaut
Scenography - Emmanuelle Favre
Costumes - Katia Duflot
Lighting - Philippe Grosperrin - เพลง
For me Alagna is theater. I love this production despite his vocal shortcomings in this role.
oui, car il a quand même la classe et il est loin d' être ridicule, avec une grande Desdémone, un Iago (pas terrible, et en fin de compte une bonne soirée!!merci!
If you have never listened this opera before, this version is not bad at all, the problem is we are already use to associate this role with deeper and more powerful dramatic voices
a voir en entier ! oui avec la traduction pour certains qui ne connaissent pas l'oeuvre , c'est merveilleux
Hello how are you doing
Очень красиво!!! спасибо за! запись !
Quand Tamino chante Otello... Alagna trop léger pour le rôle... Le sur aigu est pénible, cet Otello est un poids plume
Merci pour toutes ces vidéos.
Hello
How are you doing
Mario del monaco reste insurpassable dans ce rôle
Grande Verdi e Mario del Monaco
Merci pour les sous-titres.
Great bariton!!!
It's very sad
Alagna, Kunde, both lyric tenors who lost their minds in the autumn of their careers. And they called Bonisolli "il Pazzo" .....
For double bass friends 2:01:53
Грандиозно!
You can literaly hear, how Alagna tears his Voice to shreads.
2:31
Nothing matters ! What matters is we get to see these operas from so far away. We should thank the presenter who, judging from his many videos, loves Alagna.
In my humble opinion (which in opera and these threads, means nothing) ... but it's nice to hear a lyrical-sounding Otello considering the irratic, bad-tempered, manipulated, violent character.
It makes the unfortunate death of this poor woman all the more tragic.
(I'm keeping my negative opinions about Alagna to myself ... there are plenty here already ... He stretched himself and his repertory. Isn't that what opera singers do ?)
[It's _this_ Iago who should have been murdered.]
11:20 oboe trait d’orchestre
inizia tra due minuti e trenta secondi
1:57:21
i comprimari veramente dozzinali purtroppo!
Hello how are you doing
57:16 ese agudo fue reemplazado.
Hello how are you doing
no lo creo
@@sergiotmujica th-cam.com/video/wM7f88GCMuI/w-d-xo.html Minuto 0:34, ahí las pruebas.
@@sergiotmujica Es bastante obvio de hecho, si prestas atención es muy audible.
@@Un_Gordo_De_Derecha puede ser… en realidad la parte de Otelo le queda pésimo Alagna 🤦🏻♂️… la tesitura del rol hace que su voz suene hueca y gastada
W hat is Alagna doing singing Otello?? the stage is huge. The expanse is immense. Singers whose voices are much more suited for these roles would have a hard time to fill this void with sound ampler than those of these singers. Somethings just don't add up.
That is one of the reason, "expanses". I saw Alagna's huge maga billboards were posted in Paris last November and he can bring the audience. As you know this isn't the career role for him and I would much rather see a spinto or dramatic to be the cast in this production. However, we have heard so many recent dramatic voices but can you name one that we want to hear again? Besides, Alagna doesn't push as much since the Aida incident in La Scala. He also brings the drama to the opera along with matching counterpart who they can hug,caress and kiss each other that's soothing to watch and listen to, not 7 foot 400lb log soprano visually uneasy to look at. 😊
@@jameskim4490 Are we dealing with apples and pears?? Alagna is out of his depth in this role. The casting director has no clue about opera; he is thinking box office - nothing more. Sadly, there are too many such casting directors in key positions. There isn't a Zeffirelli within the distance of light-years. Opera is in deep trouble.
are we
@@hashatz Well. Opera has been in trouble for a quite some time and a train must go on. However, who out there do you consider to be the best Otello or Calaf in present time? Name one? All the so called spinto and dramatic voices today cannot stay in game because they all lost their voices or effected by taking up such heavy roles. Alagna has long lists of experiences and he knows his voice even pushed. Otherwise, how can he still be singing today? I rather listen to a lyric tenor voice with a heroic timbre and characteristics who can bring the drama at the same time until God send us another Corelli,Nilsson,young Martinucci,Dimitrova or even Giacomini. Name one tenor who can be replaced in present time? At least I knew one and now his voice is all deteriorated. If you can't, this is what we have for now.
@@jameskim4490 Hi James. I like your fighting spirit. However, just because there aren't the right kind of horses available for certain events, there is no reason to hold them. Look at the list of operas in the Met repertoire that were written by Meyerbeer. As an example, Les Huguenot. This opera hasn't been performed at the Met in over a century! Why? Because they didn't have the singers to do the opera justice. No less than seven(7) top-notch artists. Bel Canto operas also weren't performed until the right singer(s) were available. As for quality voices for the roles, consider the career longevity of Martinelli, Lauri-Volpe, Tucker, and many others who knew how to preserve their voices. The singers you mentioned took on roles, that didn't match their natural resources, too early in their careers. The prime example of which was the lamentable career of Giuseppe Di Stefano who did not husband his extraordinary talents wisely and took on roles that were beyond his vocal ken - too soon. So let us be candid in our appraisal of today's woeful opera scene and get a real handle on the sad state of operatic concerns. Shakespeare said it best. “The fault, dear Brutus, is not in our stars / But in ourselves, that we are underlings.” (Julius Caesar, Act I, Scene III, L. 140-141).
@@hashatz It is solely my opinion that tenor's voice rather it is lyric, dramatic,spinto or even grazia should not be profiled for limited specifics.
Lauri-Volpe is a good example where he has proven as a lyric voice himself can achieve such versatilities in dramatic capacities due to his remarkable technics. I will say for Di Stefano's case, he didn't ruin his voice early for part taking in heavy roles it is because his technic was insufficient and he
was a heavy smoker. Same for today's dramatic and spinto voices. One of the reason they sound like a street cast is because they do not use required skills to sing with lyric tone or perhaps they were put in the position not to. You hear, "squillante" that generates authentic lyric tone in all the respectable tenors whether spinto or dramatic but there were some exceptions.
Cassio che canta Otello.......
Alagna avrebbe in questo momento la voce abbastanza adatta per Otello ma pensa a caricare i suoni come se temesse non sia abbastanza Otello. IL CARATTERE I COLORI. Mancano, Domingo non aveva la sua qualità vocale, ed era un grande Otello. Curi di più l'accento, non il volume o la quantità di timbro ma l'accento Otello va accentato non urlato altrimenti a metà opera si scoppia, non pensi a Otello canti con trasporto e pathos e sarà un ottimo Otello. I comprimari e il baritono...da serie C. Il direttore corre come se perdesse il treno, togliendo il fascino alle frasi splendide dell'opera, anche il soprano, ottima voce corre all'inseguimento dell'orchestra, risultato la voce di Alagna diventa sempre più snella durante l'esecuzione, lirica anziché scrurirsi e i suoni si schiariscono, ed esce la sua natura lirica, quindi perde il suo fascino drammatico. Se potesse respirare i suoni sarebbero ben più belli....ma vallo a dire al "direttore"...le disgrazie dell'Opera del XXI secolo.
Non è questione di toni è solo una questione di amplificazione eccessiva che falsa tutto
Caro Giovanni L'amplificazione aumenta il volume ma non fa diventare una nota potente un urlo, è il modo in cui si emette il suono la differenza, purtroppo la natura di Alagna è lirica, non drammatica e quindi esce a metà opera e la voce si snellisce e tende a schiarirsi, se Roberto accentasse, ossia appoggiasse il suono attaccandosi alla vocale senza spingerla o urlarla otterrebbe il risultato drammatico senza faticare. Di questo ebbi ampia scuola sia da Corelli (il che è tutto dire) che da suo maestro Carlo Federico Scaravelli ad Ancona. Il suono va riflesso non forzato scurito o spinto. Ciao
Hai ragione ma sinceramente l’uso dell’amplificazione in ogni dove e anche al teatro chiuso è eccessivo e a me non piace, nasconde la reale voce del cantante....poi per carità sarò strano io.
@@giovanni7207IO ho cantato e canto ancora ma MAI ho autorizzato l'amplificazione, se hai studiato bene la voce corre altrimenti diverremo tutti come Bocelli o il Volo una presa per i fondelli per il pubblico. I Grandi tenori e soprani non hanno mai avuto bisogno di amplificarsi la voce. Le mezze calzette, le Agenzie hanno creato questa moda, con l'amplificazione chiunque potrebbe cantare ogni opera e questo è ridicolo e offensivo per la memoria dei Grandi che hanno creato la professione del cantante d'opera. Una vergogna che pesa sui nuovi direttori registi e direttori dei teatri che vendono asini come cavalli purosangue. Non avrei mai immaginato che Alagna si facesse amplificare la voce per cantare Otello. A questo punto e bene che si vergognino, che bravi fare il Pivot di Basket con le molle sotto i piedi e i trampoli.....CHE PROFESSIONISTI ... facciano le loro opere e il loro repertorio onestamente se riescono ancora a cantare . Vergognoso.e questi oserebbero paragonarsi ai Corelli Domingo Carreras Di Stefano del Monaco ????
Ritiro quanto di positivo ho scritto su ALAGNA.
@@lucianocirillifioravantidi9130 Caro Luciano sono contento di leggere queste parole. La penso esattamente come te. Comunque, anch'io non capisco come si fa ad osannare questi falsi cantanti che canatando con l'amplificazione non trasmettono quel reale e magnifico sentimento, quella giusta vocalità espressiva, che fa della musica d'opera, la cosa piu bella del mondo. Ma siccome nessuno parla, nessuno dice nulla, ho pensato di essere io lo strano. Faccio forse troppi paragoni con la vecchia guardia, mai superata dalla nuova?. Per non parlare dei registi che si approfittano di chi conosce le storie e bene o male riescono a capire lo svolgere delle azioni. Se fosse per loro non si capirebbe nulla sia per le scene che ideano sia per le sussurde ambientazioni, sia per i ruoli (se Timur, Puccini lo vuole cieco, ma perche non farlo cieco e a volte pure più in salute del figlio...)......Scusa se mi sono dilungato e se magari ho detto scemenze. Comunque, Luciano, ora ti cerco qui su TH-cam, cosi ti sento pure :-)
Nie odpowiada mi to wykonanie. Moim zdaniem Alagna do tej roli jest za liryczny. Idealny jest Domingo. Mula tez mi nie odpowiada. Alagna jest idealny np. do roli Romea , tu jest swietny.
Oui, comme vous dites, en dehors du timbre tout le reste est très bien ,il est génial car il s' en sort très bien quand même!!
Domingo è perfetto come Cassio !!! In Otello era Otelito !!!
Mah!
Hello
Signore Alagna chi gli ha consigliato di cantare Otello?è sicuramente un incompetente ,Lei non ha
la voce per Otello,al massimo un OTELLINO,sforza le sue povere corde vocali in un modo pazzesco
ma ,perchè? cosa vuole dimostrare? Caruso,Corelli ,Bernardo de Muro,e altri non l'hanno mai cantata
e avevano le voci per cantarla.Lei ha la voce semi distrutta non ci sono più armonici,lascia solo brutti
ricordi è solo ambizione,faccia solo qualche Opera adatta alla sua voce ,però gia non troverà più
la leggerezza dei suoni,lo squillo,etc,ha messo troppo a sotto sforzo la sua Laringe e corde vocali.Buona
fortuna.Il mio commento è sincero ,nessuna cattiveria,sono vecchio,ho sentito le più grandi voci del mondo.
Concordo.
He did for the money . Ok. But Greg Kunde deserves the money ,not him.
Blacked up Alagna, and strained singing. This is the epitome of bad taste.
Otello is a Moor ! Not some generic opera singering white guy. He is authentic in appearance, if not vocally ; besides, his face is not "Blacked up" [sic] !
There's lots of drama and action, but he is not suited to sing Otello. This was his endless quest to be The Fourth Tenor, which could never happen. He doesn't have the voice and presence.
I am not a fan of Alagna particularly for Otello but can you name one tenor out there in present time who could be considered best Otello?
Spinto and dramatic tenors they all push too within their vocal capacities and where are they
now? Alagna push but he is still singing. Lauri-Volpi was a lyric tenor who sang Otello and why shouldn't Alagna do the same?
@@jameskim4490 Aren't you good ol steakonopera fella?
Edit: i see from your upload that you are.
On topic: The thing is, he doesn't sing well anymore. I mean, would could argue and criticize, and said "purist" wouldn't be wrong, in disapproving Gigli recording/singing Otello. But, even that purist can't deny that GIgli did it properly, with proper technique, even if the role was out of his fach.
Alagna lacks both.
@@jameskim4490 Since you haven't replied, i'll ada the following:
If i'm not mistaken, you used to be completely antagonistic to all that "Mr.Cafiero" used to claim and demonstrate. You also weren't a fan of Hadley, if i recall correctly. Have anything from the past changed?
I mean, even sugarbist that used to be a hater of Tucker now loves him, we all have space for improvement.
Alagna è terribile
Totally the wrong voice .make a good cassio.
One of the worst Otello performances I have ever seen - if not THE worst. Alagna is a disaster!
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