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Cavalleria Rusticana [Import anglais]
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Détails sur le produit
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Description du produit
Following the sensational success of his one-act opera Cavalleria rusticana at Romes Teatro Costanzi on 17 May 1890, Mascagni left no stone unturned in his attempt to ensure that his star remained in the ascendant. But neither his Cavalleria remake, Silvano (1895), nor his Romantic reworking of the Lady Godiva legend, Isabeau, has survived the passing years. This Cavalleria rusticana has left the traditional opera house far behind it and been staged in an open-air theatre once associated with the Emperor Nero. The site in question is the legendary Roman baths in the port of Baia not far from Naples, arguably the most famous resort in classical antiquity and at the same time a byword in luxury and vice. Although some of the baths have vanished in the course of the last two millennia, the remains form a unique backdrop with their high walls and galleries poised between heaven and earth. A World Heritage Site, this was the setting for a production of Cavalleria rusticana by the visiting San Carlo company from Naples.
Commentaires client les plus utiles sur Amazon.com
Theater Antiche Terme Romane, Baia beauty is exceptional. Combined with a great lighting makes the scenarios become grandiose, beautiful. I was wanting to know the place.
The governing Xieyang stumbles in the absence of knowledge of verismo. The orchestra of the Teatro San Carlo di Napoli veristic know music, but the conductor does. Limited to noise, the lack of subtlety and the times inaccurate. We want to see all conductor conducting orchestras in the world, but we can not give up power.
The soloists are weak, never seen a set so bad in a single opera. Santuzza of Ildiko Komlosi has voice ocher (miss Troyanos, the Meier and Callas). The Turiddu of Sung Kyu Park is an aberration vocal.Marco di Felice dreams of being a baritone Paulo Szot as our one day, his Alfio is a triteza vocal.
Opera instant worldwide hit, Cavalleria Rusticana is the repertoire of all the major opera houses of the world. I have no more than ten versions of it on video and I can guarantee that this is the worst of all.
Version recorded in a majestic and exotic theater was detonated by the weak soloists and a conductor incompetent. Anyone who wants a quality Cavalleria Rusticana may seek the TatianaTroianos with Plácido Domingo and conducted by Levine at the MET version of 1978 or of Waltraud Meier and Jose Cura with Regency Muti in Ravenna in 1996
FUJAM DESSA CAVALLERIA RUSTICANA
O selo TDK se destaca pela qualidade de seus lançamentos.Sempre comprei seus títulos de olhos fechados. Quando lançaram essa Cavalleria Rusticana não hesitei em adquirí-la. Uma das minhas óperas preferidas lançadas em um selo que prima pela excelência.
O Teatro Antiche Terme Romane, Baia é de beleza exepcional. Aliado a uma iluminação caprichada faz os cenários tornarem-se grandiosos, belos. Fiquei com vontade de conhecer o lugar.
A regência de Zhang Jiemin tropeça na falta de conhecimento do verismo. A orquestra do Teatro San Carlo di Napoli conheçe música verista, mas a maestrina não. Se limita a barulheira, a falta de sutileza e aos tempos imprecisos. Queremos ver maestrinas regendo todas as orquestras do mundo, mas não podemos abrir mão da competência.
Os solistas são fracos, nunca vi um conjunto tão ruim em uma única ópera. A Santuzza de Ildiko Komlosi tem voz ocre (saudades da Troyanos, da Meier e da Callas). O Turiddu de Sung Kyu Park é uma aberração vocal.Marco di Felice sonha em ser barítono como nosso Paulo Szot um dia, seu Alfio é uma triteza vocal.
Ópera de sucesso mundial instantâneo , Cavalleria Rusticana está no repertório de todos os grandes teatros líricos do mundo. Tenho nada mais que dez versões em vídeo dela e posso garantir que essa é a pior de todas.
Versão gravada em um majestoso e exótico teatro foi detonada pelos fracos solistas e por uma maestrina incompetente. Quem quiser uma Cavalleria Rusticana de qualidade pode procurar a da TatianaTroianos e Plácido Domingo com regência de Levine no MET versão de 1978 ou a da Waltraud Meier e José Cura com regência de Muti em Ravena em 1996
Ali Hassan Ayache
Late on what looks like a balmy summer's evening, this authentically Italian Mediterranean location of seismic activity forms an impressive natural backdrop for the volcanic passions that erupt in the Sicilian village setting of Mascagni's tense rural melodrama. The strengths of the work reside not just in the melodic invention of the work, but in how it is tied through its folk rhythms, religious processional music and heartfelt emotions to the simplicity of the beliefs and passions of ordinary people in a rural location. Underpinning the score, with its mounting tension masterfully rising to the surface, is the suggestion of a dark and tragic undercurrent that reflects not just the dramatic developments, but the nature of where those conflicts arise in the conflicts between human passions, where male pride and female jealousy run up against religious beliefs, tradition and family honour.
Although it's not an ideal place to stage the work and it does present some problems, director Maurizio Scaparro takes advantage of the open-air location to bring all these elements to the fore in the production design that places the orchestra right at the very heart of the performance. There is minimal use of props and settings - everything that is required is supplied by the location and the resonances of its historical and geological background. It's enclosed enough to emphasise that hothouse sense of community and characters wrapped up in their own intense feelings, yet open enough to suggest that it takes place in that all important 'verismo' aspect of the real-world and ordinary people. If the singing then is not exceptional in this production, it's strong enough in the context and it still gets across all the emotional and dramatic requirements of the piece, hitting those key moments with the necessary forcefulness.
If the acoustics of the outdoor location don't benefit the singers the way that a custom-built theatre might, requiring them to use discreet microphones and perhaps project a little bit more than necessary, it seems to work better for the orchestra nestled basin-like within the action. Zhang Jiemin conducts the orchestra of the Teatro di San Carlo of Naples through a powerful performance of the opera that draws out all the joy, tragedy, passion and tension out of the work. It comes across particularly well in the DTS 5.1 audio track which has a punchy low-frequency range and cymbal crashes that lend full emphasis to those key scenes. PCM stereo and Dolby Digital 5.1 mixes are also included. The 16:9 widescreen image looks fine on the dual-layer DVD9 disc and the DVD is Region 0, NTSC. Subtitles are English, German, French, Spanish and Italian. The DVD includes a 30-minute documentary that is part tour guide to the region and its history, but also gives a good account of the production through rehearsal footage and interviews, mainly with director Maurizio Scaparro.