Casting Kazushi Ono - Conductor Andrew Tortise - Prólogo Heather Newhouse - Governess Katharine Goeldner - Mrs Grose Giselle Allen - Miss Jessel Andrew Tortise - Peter Quint
No names of the cast in the final credits ? Why not ? By the way: To show the dependence of the little Miles on his suspected seducer with the "leash" was a very interesting idea by the stage direction.
+Echoherb And the boy playing Miles too ! By the way: Last year in July was Handel´s opera "Alcina" performed in Aix-en-Provence - with boy soloists of the Toelzer Boys´ Choir playing (and singing) the Oberto. Some videos are also here at YT...:)))
"Making it dramatic" is a large part of what opera is all about. People who feel this way can always read Henry James's original story and forget about Britten.
@@agentcee1381 Hear hear! Britten and Piper's main problem was to give Quint and Miss Jessell anything to sing without destroying the ambiguity. I would like to see a production that optimises the reading that it is all in the governess's mind by never allowing the ghosts to appear fully.
Only in an opera can someone just drop dead after saying ‘Peter quint, you devil’. Really there’s no reason for miles to die in the end other than the story thinking that it can’t end any other way. Or he had some illness/health condition that was never addressed.
@@JanKristofSchliepTenor Most productions have Miles shout "Peter Quint, you devil" at Quint, but this production has him looking right at the Governess, to whom he seems to say it in Henry James's novella. This suggests that the governess really is the one responsible for his death, with her own desire to possess him-in the opera, she does sing "What have we done between us?" after he dies. My father's impression from the novella was that the governess smothered Miles to death in her embrace. Alternately, one could read it as Miles dying from the force of the exorcism.
Britten's re-invention of chamber opera after two centuries is one of the greatest cultural achievements of the 20th century. Most of the singing is of a good standard and the musicians play well. It is tragic, therefore, that a pretentious and 'clever-clever' productions blasts something precious to oblivion. Everything is too dark (lacking in illumination), some 'special effects' are just an irritant and scenes layout too inconsistent to give any bearings in the complex plot. For an opera of high voices, apart from the tenor, it is essential that characters are clearly delineated and here they are obscured into a mess which is inimical to the musicians, audience and composer. Try the Perth version for an excellent insight into the masterpiece, including acting using facial expressions. This mess from Lyon is just too poorly thought out and illuminated to be worth watching.
![ILLSLICK - KILLSHOT REMIX [FULL VERSION]](http://i.ytimg.com/vi/RIK8RrqIAzE/mqdefault.jpg)
Than you very much for sharing this, a great production with very talented singers
not an easy opera to sing well, tough finding the pitch in Britten's music sometimes.
33:51 / 1:54:52
I've always loved Miles' 'Malo' song, haunting.
One of greatest creations of Britten.
A supurb production in every respect. (although when I saw Miss Jessel for the first time the words 'Mad Magaret' sprung to mind !!!!.)
Prologue 00:40
Act 1
I. 04:30
II. 07:30 (Dodecaphonic model)
this opera and Peter Grimes are probably Britten's greatest.
I'd add Death in Venice to the list.
@@andrewkohler3707 also very good.
11:50 what a beautiful passage.
Casting
Kazushi Ono - Conductor
Andrew Tortise - Prólogo
Heather Newhouse - Governess
Katharine Goeldner - Mrs Grose
Giselle Allen - Miss Jessel
Andrew Tortise - Peter Quint
Thank you, Alexandra. Such a fine production!
Grazie
Alexandra Alvarez the children?
@@SeikoMeetsWorld I don´t Know
Et
Loleh Pottier
Remo Ragonese
Congratulations !!! and thanks a lot for sharing.
I'd sure pay a lot to see the production of this around that time that starred Jacob Collier. He cites this as a huge influence
You might not get your money’s worth.
@@nandocordeiro5853 video of his performance has emerged; it's lovely and professional
subtitles please !!!
The opening credits don't mention the composer Benjamin Britten, only the librettist
No names of the cast in the final credits ? Why not ? By the way: To show the dependence of the little Miles on his suspected seducer with the "leash" was a very interesting idea by the stage direction.
The girl playing Flora has such a gorgeous and unique singing voice!
+Echoherb And the boy playing Miles too ! By the way: Last year in July was Handel´s opera "Alcina" performed in Aix-en-Provence - with boy soloists of the Toelzer Boys´ Choir playing (and singing) the Oberto. Some videos are also here at YT...:)))
there are productions with better singers for miles and especially Flora
I love this production although my ears do not share Britten's tolerance of high pitched warbling. Sub-titles would be appreciated.
Then you should see "Billy Budd" which has only occasional outbursts from boys, otherwise all men.
Subtitles please :(
Confusing from the first moment.
Welll- acquainted with Mr. James's masterpiece.
Let the drama unfold without trying to make it dramatic.
"Making it dramatic" is a large part of what opera is all about. People who feel this way can always read Henry James's original story and forget about Britten.
@@agentcee1381 Hear hear! Britten and Piper's main problem was to give Quint and Miss Jessell anything to sing without destroying the ambiguity. I would like to see a production that optimises the reading that it is all in the governess's mind by never allowing the ghosts to appear fully.
I think the opera catches the book pretty well, got to watch it a few times to get it.
AH zut...moi qui espérais qu'il y ait des sous-titres français...
Cast please!...
Hello! I'm Miles!
You were very good!
Only in an opera can someone just drop dead after saying ‘Peter quint, you devil’. Really there’s no reason for miles to die in the end other than the story thinking that it can’t end any other way. Or he had some illness/health condition that was never addressed.
If I remember correctly, the same happens in the book by Henry James the opera is based upon.
@@JanKristofSchliepTenor Most productions have Miles shout "Peter Quint, you devil" at Quint, but this production has him looking right at the Governess, to whom he seems to say it in Henry James's novella. This suggests that the governess really is the one responsible for his death, with her own desire to possess him-in the opera, she does sing "What have we done between us?" after he dies. My father's impression from the novella was that the governess smothered Miles to death in her embrace. Alternately, one could read it as Miles dying from the force of the exorcism.
La fac me fait vraiment regarder n’importe quoi au secours 🤣
K
35:16 quiebro de voz ("gallo") del niño solista. Tanto cantarle fuerte al oído las sopranos, le han dejado sordo.
No, significa que su carrera como niño soprano está a punto de terminar, y si tiene suerte pronto será un buen tenor, barítono o bajo.
Fue doloroso. ='(
Britten's re-invention of chamber opera after two centuries is one of the greatest cultural achievements of the 20th century.
Most of the singing is of a good standard and the musicians play well.
It is tragic, therefore, that a pretentious and 'clever-clever' productions blasts something precious to oblivion.
Everything is too dark (lacking in illumination), some 'special effects' are just an irritant and scenes layout too inconsistent to give any bearings in the complex plot.
For an opera of high voices, apart from the tenor, it is essential that characters are clearly delineated and here they are obscured into a mess which is inimical to the musicians, audience and composer.
Try the Perth version for an excellent insight into the masterpiece, including acting using facial expressions. This mess from Lyon is just too poorly thought out and illuminated to be worth watching.