Insights into Otello with Jonas Kaufmann (The Royal Opera)
ฝัง
- เผยแพร่เมื่อ 7 มิ.ย. 2017
- Join tenor Jonas Kaufmann and conductor Antonio Pappano as they explore Verdi's Otello. Find out more at www.roh.org.uk/otello
Otello is Verdi’s final tragedy. After astonishing productivity in his early career, the composer slowed in later life; more than fifteen years separate Otello and its predecessor, Aida, although Verdi revised his earlier works Simon Boccanegra and Don Carlo in the interim. He was lured out of retirement by the composer and librettist Arrigo Boito, who tempted him with a proposal that was very close to Verdi’s heart: Shakespeare’s Othello. Boito adapted the libretto from Shakespeare’s play, with much intervention from Verdi. As the latest utterance from the master of Italian opera, the 1887 premiere was an instant success - but, more than that, Otello has been an important part of the international opera repertory ever since.
The Italian musical landscape had changed during Verdi’s period of isolation, with many of his compatriots finding inspiration in foreign operatic innovations. Verdi responds in Otello with music that looks back to the traditional forms and structures of Italian opera, but which carries an unmistakably different dramatic thrust and fluidity, in response to Shakespeare’s text. The results are thrilling: from the violent storm that opens the opera through to Iago’s blood-chilling Credo and Otello’s increasingly desperate duets with Desdemona. Keith Warner (Wozzeck, Der Ring des Nibelungen) directs a new production of this masterpiece, The Royal Opera’s first in 30 years. - บันเทิง
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I could watch any of these people talking, playing and singing ALL DAY ! Now do I want to go and see the Opera in my local cinema tonight ? I haven't decided yet !
Brilliant!!!, thank you for sharing!!!
Such in depth analysis, high-level sensitivity and comprehensive understanding of the most complicated aspects of the human mind. We desperately NEED complete artists like Antonio Pappano and Jonas Kaufmann.
So amazing to see Francesca after many seeing her in the Joyce DiDonato masterclasses at Guidhall! Absolutely inspiring to see! Brava!
Antonio Pappano's analysis of Iago is of the highest order in terms of character analysis. Its clarity and depth reveal his considerable sensitivity and understanding of the human condition in all its complexity and magnificence. It is not often that we are treated to this kind of high-level discussion of the composer's ability to describe his characters. This is what opera is all about - a story told in musical language. Jonas Kaufman shows his deep involvement with character development; he does it intelligently and with genuine conviction, all of which attest to the kind of reading that opera requires and deserves. Too often, these elements simply do not appear in the discussion of operas. More of this kind of treatment appears in my blog Psyco-dynamic Opera in the post-Master Criminal's Artful Manipulation.
I agree. I didnt want him to stop talking.
Yes, absolutely. Pappano is a master communicator. I could listen to him forever (okay, maybe not literally for ever, but you get my point).
Shlomo Hoffert Thank you for your cool thoughtful comments. Refreshing among some of the trolls that love to practice profanity instead of reason. Even worse sometimes are those who as fans of a singer think everything he or she does is perfect even if that artist acknowledges shortcomings. Thank you also for your support of opera. How powerful it is.
Saw a live screening of this production yesterday. Understood why Verdi originally wanted to title this opera, "Iago", and Kunde's performance in this role was memorable. But what kept me awake last night, after watching the opera, was the sheer intensity of Kaufmann's Otello. We can argue about Kaufmann's vocal rendering (which I considered to be superb, and every bit up to the wide range of demands this opera makes on the voice) but let us not forget that singing is only one component of a performance. The stage set and the acting are also highly significant in the overall production. Here (unlike some unfortunate productions I have seen) the stage set was quite subdued, and provided a supportive backdrop until the dramatic final scene, where Otello stabs himself and the bed becomes covered in blood which is visibly pumping out of his body as he struggles, unsuccessfully, finally to kiss Desdemona's corpse. But Kaufmann's acting was absolutely compelling. Kunde, too,was excellent in this respect, and he came over as the significant character in the earlier parts of the opera. But, in the end, it was Kaufmann who kept me awake last night as he superbly portrayed the desperate disintegration of a once vain and self-confident personality. Wonderful.
Agree! it was brilliant. Had goosebumps and will not sleep tonight. Now hope that they release it on Blu Ray or DVD, so that I can re watch it
John Ward a
Thanks for an entertaining insight. I will enjoy Otello all the more at the cinema.
I love so much this review live. That I always see then many, many times
Congratulations and thanhs
I was lucky enough to see the live broadcast from the ROH to our local cinema recently. Wonderful! Jonas Kaufmann is mesmerising as as one of the fellow viewers tweeted - he came, he sang and he conquered! The rest of the cast were pretty splendid too. Passion, malice and stunning chorus singing which transported us to a different age and a tragedy of Shakespearean proportions. Highly recommended. Brilliant idea to enable those of us who can't afford live opera to see and feel it up close. Thank you to all concerned.
Lynn Bolton no no lo
Pappano and Kaufmann--so insightful and so much fun.
Opera lirica is such a complete art form that pure voice is not opera art. One has to have the looks,understanding,acting and, in addition, the voice!
Antonio Pappano and Jonas Kaufmann are AMAZING!!! But we know that already! And this is certainly going to be a performance to remember!!!
Kaufmann is an extremely mediocre singer, surely not suitable for Otello. If you want to have an idea of how Otello should be sang you should listen to it by his major representative, Mario del Monaco. Or any great tenor from the past.
Jonas, absolut grandios. Es nimmt einen einfach mit, treibt Tränen in die Augen... ❤️🌹❤️🌹❤️🌹❤️🌹❤️🌹❤️🌹❤️🌹
it is fascinating to listen to the insights of the Otello.
What a great conversation. Thank you so much.
With the greatest pleasure enjoyed this brilliant program. Thank you!
The highlight was Maestro Pompano's analysis, a must see for all opera lovers.
Due to the limited time he couldn't develop further Jago's character. Unfortunately the brilliant J. Kaufman couldn't really answer for the question concerning Otello's actuality in the XXI. century. Vividly recommended professor Robert Greenberg masterly analysis about Jago (Freudien) homosexual behavior (Opera's of Verdi Teach co)
JonasKaufmann
Well, what a fantastic evening!! The whole event of Otello in the cinema is for me the best way of being part of this great Verdi opera. Everyone connected with this production, from the floor sweeper to those on high, have collectively pulled together to produce this magnificent experience. The chorus opening set the scene well as was the appearance of Otello, with stage mastery. The scenary was dark and sombre and pleasantly moveable. Maria Agresta as Desdemona was beautiful both in voice and character. Marco Vratogna as Iago just oozed evil from every pore as he told his tale. As for the man himself - Jonas Kaufmann - I was transfixed and left speechless! His character was well rehearsed and his voice was in top form and such an honour to hear. I could easily see this production again. It was brilliant!! Well done.
Bra.
Bravo-Vibrational Healthy Restoration-Much gratitude+++++++++
Muzica cultiva spiritul. Concentreaza atentia spre sunete. Omul vibreaza in ton cu auditia. Este ceva miraculos. Sa simti ca esti muzica.
i love it so much, thanks for this, i love opera!! and i love Jonas ❤❤❤❤❤❤❤❤❤
If you really love opera you're wasting your time with kaufmann. You should be informed first with the opera stars who have made opera what it is. Beniamino Gigli, Mario del Monaco, Giuseppe Di Stefano, Aureliano Pertile, Lauri Volpi, Krauss, Galliano Masini. Listen to these guys first and then you'll have a more appropriate picture of Opera.
@@alvarodecampostabacaria4223 they all were died...I like to hear living singers!
@@barbaragawe170 all true artists are dead, so are you not going to museums and just see living painters? Real art is something, you are choosing mediocrity, but if you're happy that's OK! But you will never have the slightest idea of opera if you listen to these people, which I don't call opera singers.
now I see problem with picture and sound synchronization! sound is earlier than picture. Can you fix it?
It's extremely disappointing that Ludovic Tezier will not be performing the role of Iago. He's a magnificent singer and spoke brilliantly about Iago earlier this spring (in a discussion at the time he was singing Werther).
Did you see Tezier's performance as Werther? Quite good but not the equal of Kaufmann's dramatically. I was looking forward to his Iago (I have 2 tickets). However, Warner sees Iago as the embodiment of evil and I haven't seen Tezier in a role where he is "evil".
No--but he was a wonderful Count Almaviva and Carlo Calatrava (in La Forza--that's the one where he and JK jump up onto a table and mime a knife fight). I hope Kaufmann (and others) will make it happen that he and Tezier sing Otello and Iago together in the same production at some time in the near future.
Tony is fantastic in explaining the music, but if I didn't know the piece and didn't have all the music on my mind already, I wouldn't be able to understand him correctly. I realised this in operas that I didn't know or knew little. someone who hasn't heard Otello again and doesn't knows its music well won't be able to understand Tony.
Antonio and Jonas know each other so we’ll which is so important when they work on a piece one knows what the other can produce there is one part in the opera which I think is very hard singing that the turnover goes further to some baritone sound I wonder how this is going to be I am partially blind and I hope by talking to the computer it writes what I’m saying , I like Jonas very much like the sound of his voice and the reason is my father studied music in Vienna and studied studied the singing but this was many many years ago and every time I listen to your Nans I think my father is singing the same voice the same fennel even she could make a bit of a baritone sound which was just amazing and the love of music I inherited okay let let’s see how this production comes on stage listening to eat and then King George the rest thank you so much music is something special Thank you for this wonderful evening
Leider ist zwischen Bild und Ton ein Unterschied von gut10 Minuten, so dass man die Insights nicht so recht nachverfolgen kann (schade, weil sowohl Antonio Pappano als auch Jonas Kaufmann sehr ausdrucksstark argumentieren ...). Gibt es evtl. noch eine "Originalversion"? Ich habe es mehrfach auch über die ROH-Seite versucht, aber immer mit dem selben Ergebnis
Muy buenos, el tenor de excelentes voz y técnica y el pianista y director, de buena sensibilidad, comentarios acertados. Bravos!!
Kaufmann is @ 50:00......
Desdemona non mi dà emozioni. Anzi mi annoia
Io non capisco. Sono ignorante !!!! Ma L'AVE. Maria dell'Otello e' un addio alla vita!!!!bisogna calarsi bene nella parte!!!!
En-Sign? Is that how you pronounce that?
In English, yes.
Magnificent tollo by jk. He has all kind of sounds and flexible voice, I saw otello in cinema. Bravo
1:07:40 "Um-ta-ta-ta / Um-ta-ta-ta... always the same rythm, for hours"
Dunque.. non solo JK decide di banalizzare la musica del Verdi pre-Otello, ma per ridicolizzarla sceglie di rispolverare il vecchio dispositivo denigratorio, da sempre caro ad una certa pseudo-critica tedesca: "Verdi zum-pa-pa" - sbagliando pure la misura, che da ternaria diventa quaternaria.. secondo me in questa intervista ha offerto uno spettacolo un po' deludente, devo dire..
Liricamente non capisce che noi Tedeschi amiamo Italiani e il vostro modo di vivere da matti, anche il maestro Pappano spiega la musica..two for tea,dadada. Purtroppo l’amore che abbiamo per voi non è vice versa😪🇮🇹😘
Davvero, non si possono accettare tali imbecillità da uno dei cantanti (non credo si meriti il termine interprete) più celebri al mondo!
Iago is not an illusive character. He is the MOST evil character in all western literature. Because he has nothing to gain by his plot. It is pure, totally pure evil.
meine meinung ist dass diese partien nicht für jonas geeignet sind--aber heute singt ja auch ein taminotenor den tannhäuser-einfach eine andere zeit-leider.kaufmann ist ein zwischenfachtenor genauso wie domingo-kein rustikal-tenor richtung del monaco. dazu gehört ausser otello auch aida und turandot-wiegesagt,wir haben eine andere zeit
O some stupid comments, hahaha.... Very interesting, but it is nothing new and all the great artists don't care about it.
Mara N Why call people stupid? Does it make you feel better because it certainly does not add to a reasonable discussion. Does anonymity make it easier? These people speak for themselves by their comments. Don't you want to be a good example? Perhaps you do not care about it.🤓
Why did the audience laugh about Pappano's racism comment?
Nervous laughter I think. Sometimes when people are shocked like that it is the natural response. (But remember, Pappano was not himself being racist, He was only telling a fact, and he made it clear by the way he says it that he too is shocked by it).
No, I realise that Pappano was not being racist. But I was surprised at the laughter.
When did he say that?
1.04.25. He says Verdi and Boito's secret name for Otello while writing it was 'the chocolate project.'
Ya, sigue pilar paco. Con su inglés, que es chapurreao, en. Cine???todo es caro,!!!
What eagerness to say things which try to impress (Oh look at me…none has ever thought these thoughts). Thank good some of these people disappear after a short time as they get stabbed in the back by the very ones who are in charge of the opera house for others who will be the flavor of the month. Poor OPERA standards.
Sarah Lenton's talk is insightful, but her Italian pronunciation is surprisingly careless.
The vocal production is as throaty as it's guttural, with distinctive register breaks. Notes off the stave are squeezed out without any build-up and in many sequence smudged. Legato is as abundant as rainfall in Sahara. Stylistically, he's all over the place in addition to the fact that he is channeling his inner Renee Fleming in that every word, every sentence is fussed and tweaked to the extent that any sense of spontaneity is lost. Those comparison to the legendary Jon Vickers by certain so-called critics is simply preposterous. The Canadian's voice is naturally produced and is employed with the greatest artistry, whereas the voice of "the most gorgeous thing on the lyric stage today" (so claimed by thousands and thousands of queens around the globe) is weirdly produced, sounding synthetic and grating.
Dude shut the fuck up. What is the point of posting this on every kaufmann video you find? Surely you can find happiness in some over way than a few youtube likes from other like minded losers?
I think it is absolutely about personal preference. No one would seriously suggest that JK lacks technique (except you, evidently). Personally, I dislike the sound of Vickers' voice, and really, he is far more guilty of smudging etc.
Approximately a decade ago, they (big gun impresarios, international
entertainment conglomerate specialized in classical music and so-called
critics affiliated with mass media corporation) did it with that Mexican
clown. Seeing that Mexican clown is throwing in the white towel after
repeated throat surgeries, these people are trying to do it all over
again by catapulting another under-par so-called singer into tenor
superstardom. Of course the chosen one needs to be a cunning businessman
who's blessed with matinee idol bearing and the physique of a male
model, one whose ambition in reaching the top takes precedence over
everything, including the attainment of art, one who's well versed in
the art of prostituting art, but cares little, and probably knows
nothing, about arts. He also needs to have a personality that is as
affable as it is weird because he has to understand the fine art of
boot-licking and abusing the hand (the fans) that feeds him all in the
same time. Then, a star or more accurately, a pseudo opera star, is
born. Kaufmann's groupie and that Mexican clown's are probably the most
wretched people in the world because they choose a fate that's more
abhorrent than reveling in drenching themselves in a tub composed of toxins and human secretion (the unsavory kind): they choose to indulge themselves in something akin to committing necrophilia.
Oh come on, less intellectual masturbation would do. It is just crazy to compare Villazon (in any sense) with Kaufmann. Just ignore him if you don't like him and stop watching all his videos, please.
What the fuck are you on? You aren't making any valid point about musicianship, and your comments are, to say the least, incoherent.
Offendete pure , nullità: vi piace denigrare sul lavoro degli altri. Ascoltatevi il noiosissimo Wagner!
Salvo Caldarella puro gusto personale....non sono compositori più grande di VerdiMozartWagner ...in questo ordine!
@@selini52 quindi ammetti che Verdi sia un grande?
Jonas Kaufmann will surely lose his special sound if he persists in singing this role. Clips from his recent Covent Garden debut as Otello show only too clearly that the tenor is pushing his voice for volume. His vibrato is already becoming a wide bleat as he blasts out his capital instead of singing on interest. At this rate Kaufmann may end up with a "voce fissa", a fixed voice with limited range and dynamics (like Mario Del Monaco) and restricted to declamatory roles. A great shame, if so.
Considering Del Monaco sung it 457 times as is unequaled in this role your comments are worthless to say the least as far as Kaufman you may be right !
Thomas Heyes most probably you are right, money ,unfortunately plays a big temptation to over stress a voice!
Kaufmann is as overrated as Kunde is underrated.
agree! funny dual cast really. the senior and veteran is being treated as second to the newcomer
Kaufmann could never be overrated!!! His is the voice of a lifetime, no one else can equal it - never heard of Kunde....
The fact that you have never heard of Kunde is more of a reflection of your ignorance than a rational argument.
thanks for the insult, I have been an opera fan for 60 years and never heard of Mr. Kunde so i checked him out on TH-cam, granted he has a wonderful voice but in my humble opinion as someone who loves music and opera, and is not ignorant of anything musical, he is one a group of tenors who have beautiful voices, but to me and thousands like me, maybe millions, Kaufmann is the voice of my lifetime and theirs, we are not all ignorant of tenors, and if Mr Kunde is such a great tenor, why have I never heard him at the Met or in any production in my home town of Chicago, or NY, or Philadelphia, or any other place.... I don't need a rational argument, Jonas speaks for himself and all of us who love him. He has a vast repertoire and adds Otello to it to great reviews, nothing about Kunde that I have read, no need to say anything else, you are not a gentleman.
lemeshev
There is one major problem with this video. To sing OTELLO you need an amazing VOICE and technique. Kaufman is an extremely mediocre singer who can't take up on this role. For you novices who think he's great, you should move your opera knowledge more in depth , to know at least what you're talking about. Listen to real opera gods and then make your informed decision.
Álvaro de Campos Tabacaria same for you,inform yourself how maestro Pappano adores his voice!
@@selini52 irrelevant if maestro pappano loves his voice. I'm talking about the history of opera, not maestro pappano.