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Pacido Domongo : Nabucco [Blu-ray]
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Placido Domingo & Liudmyla Monastyrska on Nabucco : the Challenges on a New Rol in Opera
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Description du produit
Pacido Domongo : Nabucco, 1 Blu-ray, 133 minutes
Nabucco est premier triomphe du jeune Verdi à la Scala de Milan en 1842, ce sera le début d'une longue série de chefs-d'oeuvre qui feront de son auteur, un des plus grands compositeurs d'opéra de l'histoire. A elle seule, la prise de rôle de Nabucco, par Placido Domingo est un événement unique dans la carrière d'artiste lyrique. Non seulement il transcende le personnage, un des plus redoutables des opéras de Verdi !, mais il met en ébullition, par son énergie incomparable, et son jeu scénique constamment inspiré, l'ensemble d'un plateau vocal, absolument remarquable !
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Meilleurs commentaires des clients
Pas de Kalachnikovs, ni de militaires habillés en uniformes nazis. Le propos est plus subtil et la mémoire des ces horreurs est évoquée avec une grande retenue.
Au milieu de ruines, représentées par de simples blocs de pierres encore debout, quelques juifs émergent dépenaillés. Une vision qui réveille le souvenir des Ghettos .
À la fin de l’opéra, les hébreux vaincus, sont condamnés à mort. Nous assistons alors à la sélection arbitraire de ceux et celles qui vont périr. Sitôt choisies les victimes se déshabillent. Terrible réminiscence du rituel qui précédait le départ inéluctable vers les chambres à gaz.
Ce parti-pris, osé, mais frappé du sceau de l’Histoire, donne une résonance exceptionnelle à cette représentation.
D’autant plus que le reste de la scénographie est d’une haute tenue : de magistrales et gigantesques sculptures en fil de fer symbolisent les idoles païennes. Peut être un clin d’œil aux sculptures en fil de fer de Calder ?
Les éclairages d’Alessandro Carletti habillent la scène avec délicatesse.
Un ensemble sobre où la simplicité se conjugue avec justesse et majesté.
Avant de parler des chanteurs, je voudrais rendre hommage aux chœurs et à l’orchestre de Royal Opera House. Ils sont placés sous la baguette flamboyante de Nicola Luisotti.Lire la suite ›
Commentaires client les plus utiles sur Amazon.com (beta)
even appreciate the fabulous voice of Abigaille because she also looks so ugly as everybody else. This is the worst DVD opera of all the thousands that I have bought and seen.
the product is OK and till this time there are somo items I have not rececived at my home yet, they are in the way
everithing is OK I wont wrie for each one separately
just as a comon answer
Valentina De Sola
Maestro Nicola Luisotti draws from the Royal Opera House's orchestra playing that is vigorous and taut, with details of shimmering beauty (e.g., the harp arpeggios with the chorus in Act One). He is collaborative in enabling the singers to be their best. With a decidedly senior divo in the title role, he takes the cabaletta of Act IV at a conservative pace, while super-charging the solos of a fire-breathing lead soprano in her prime. None of his soloists is less than good. Liudmyla Monastyrska's Abigaille is even better than her very fine Lady Macbeth for the same house (available on an Opus Arte DVD). There is nothing in the music of this perilous role that intimidates her -- she has the heft, the cut, the range, the agility -- and Abbado softens the character just enough that when she professes love for Ismaele, or claims to have often shed tears for others, it rings less hollow than it sometimes has in other productions. Not a natural actress, Monastyrska brings to her dramatic responsibilities the care that should come with a new production, and she is as three-dimensional an Abigaille as anyone would want. Mezzo Marianna Pizzolato is a more stolid presence and makes less of an impression with Fenena early on than she might have, but does her best work where it counts most, in the aria and the ensemble of the final act. Andrea Caré brings to Ismaele a glorious sound, magnetism and machismo, and the old-school italianità in regrettably short supply today (he was a late Pavarotti pupil). His exciting performance, the best surprise on the disc, makes the listener want to seek him out in a larger role. Vitalij Kowaljow is a mild-mannered Zaccaria. The voice sits in the right place for the often-high-lying writing, but he has less star power than some of the singers around him, and so the character recedes. Robert Lloyd, who sang the High Priest of Baal as a young bass on the celebrated Muti/EMI recording, reprises the role 35 years later as an old bass.
Of course, this performance probably was given a cinema broadcast and a DVD release because of the participation of Plácido Domingo, now in his seventies and several years into a tour of major Verdi baritone roles. This chapter of his career has been controversial and uneven, and I was left without much good to say of his recent attempts at the Count di Luna (Berlin and Salzburg) and the ERNANI Don Carlo (Met). Nabucco, happily, is a better fit. To go along with this casting, we must be willing to accept the sound of a dark-toned tenor whose range has shrunk with age, rather than a true baritone. But the part has often been filled on recordings and in live performances by renowned baritones well past their best -- Gobbi, Cappuccilli, Nucci -- and Domingo here still makes a compelling sound and has the indefinable divo quality. When he struts on stage in the first act, he takes possession of it. We have heard good singing until then, *great* singing where Monastyrska and Caré are concerned, but now the star has arrived. Domingo understands every word of what he sings, in arias, duets, and ensembles and in expressively inflected recitative, and his enactments of the king's hubris, undoing, madness, and remorse are vivid and ultimately inspiring of empathy. In Domingo's lesser quasi-baritone performances of recent years, I have sometimes wondered for how long a singer who has been at the top of his profession for so long can content himself with giving performances that make listeners say the singing is impressive "for a man of his age." Here, he supplies enough to give a valid center to a strong production.
There are two short supplements. In the first, Luisotti and chorus director Renato Balsadonna discuss the opera's cultural significance and the supremacy of the chorus's role in it. Balsadonna describes this youthful work as "Verdi's first masterpiece" (too generous?). Luisotti is animated and likable, enthusiastically demonstrating the attack he wants in a passage for the chorus, and singing a bit of "Va, pensiero" himself (rather well) for the camera. In the second feature, Domingo and Monastyrska rehearse their third-act duet with piano and talk about the challenges of their roles. For a performance with a true baritone as Nabucco, my alternative would be the 1986 Muti/Scala (on Kultur) starring Renato Bruson and Ghena Dimitrova, its uninteresting stage production and dated technical properties notwithstanding. The ROH's new disc is, on the whole, an attractive and worthy entry to the field.
I read a fairly wide range of opinions on this and wanted to see for myself.
This is fairly early Verdi so it has a lot of potential, but right from the beginning it was clear that the conductor, Nicola Luisotti was glossing over many of the nuances that are so rewarding in this work. There is not the level of tension, pulse and mystery that we are used to.
The recorded sound didn't bring out the textures, the orchestra was clumped together, as was true for the chorus as well. Even the best chorus and orchestra can sound like this when they are not given proper leadership, and recording. Pity. The sound also tended to sound overloaded because the elements weren't balanced. And the "sung-to-death" chorus got loud way too quickly and was missing nuance.
It is true that Domingo doesn't display the vocal volume that this role needs (especially in such a large house,) but his tone and pitch were steady and quite good, and it was clear that he and Robert Lloyd were the singers who knew how to inhabit a role on the stage. They moved appropriately and looked at the other characters.
As far as the other singers were concerned, this might have been a concert presentation - they moved little, did not interact often with each other and tended to just face the audience and sing. I questioned whether they knew what they were singing, or had learned it phonetically.
The Abigaille does have a large and suitable voice, but she does not inhabit the role. Abigaille is one of the great dramatic soprano roles, and it benefits from some chewing of scenery. Not here.
Same is true for the other roles here. No bad voices, but it really wasn't "sold" which early Verdi needs.
The costumes were drab 1930s thrift store for no good reason.
The stage was a sand floor with plain beige square stucco columns. How evocative of ancient Jerusalem and Babylon!
It reinforced the feeling that this was a last-minute semi-staged production. It was directed by Daniele Abbado.
I have recently seen two other strong productions of Nabucco, one on C Major (Tutto Verdi) with Nucci, Theodossiou and Zannellato (Mariotti) that easily surpasses this one, and my favorite production on Dynamic with Gazale, Neves and Anastassov (Frizza). Abigaille is one of the few Verdi roles that Susan Neves recorded and it is most enjoyable. All the major singers are great, as is the production, top to bottom.
It's also available in a bargain collection from Dynamic of 6 Verdi operas.
Every time I try to play Neves sing Abigaille's big aria I wind up playing the video to the end. And then I have to go back to see the first part...