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Wagner / La Walkyrie (BD) [Blu-ray]
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Détails sur le produit
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Description du produit
LIVE RECORDING FROM THE TEATRO ALLA SCALA, MILAN, 2010
Siegmund SIMON O'NEILL
Hunding JOHN TOMLINSON
Wotan VITALIJ KOWALJOW
Sieglinde WALTRAUD MEIER
Brünnhilde NINA STEMME
Fricka EKATERINA GUBANOVA
TEATRO ALLA SCALA
Conductor DANIEL BARENBOIM
Stage Director GUY CASSIERS
Richard Wagner called Die Walküre the first evening of the Ring of the Nibelung; he called Das Rheingold the prologue or Vorabend. Musically and dramatically, we are introduced to a radically new and different world when the opening bars of Die Walküre resound. A fully developed orchestral palette of Leitmotivs paints a wild storm scene, and the curtain rises on a modest dwelling: a fully human scene that has nothing to do with the gods, dwarves and nymphs of Das Rheingold. At the same time, however, the way Die Walküre portrays radical beginnings reveals some telling reminiscences of the unfolding of Das Rheingold. Die Walküre is exciting and deeply feeling drama. The Scala Ring Cycle by Guy Cassiers is continued here with, as in Rheingold, numerous outstanding opera stars. Most of all, the leading ladies, ever wonderful Waltraud Meier as Sieglinde, marvellous Nina Stemme as a strong Brünnhilde and Ekaterina Gubanova as a convincing Fricka are to be named. Simon O'Neill and John Tomlinson fight a stirring duel as Siegmund and Hunding and Vitalij Kowaljow gives his dark portrayal of Wotan. Daniel Barenboim presents a fantastic musical interpretation of this second and inspiring evening of the Ring.
Sound Format: PCM Stereo, Dolby Digital 5.1, PCM Stereo, dts-HD Master Audio 5.1 (Blu-ray)
Picture Format: 16:9, 1080i High Definition
Format: 2 x DVD 9 / NTSC 50 GB (Dual Layer)
Subtitles: DE (Original Language), GB, FR, ES, IT, Korean
Running Time: 238 mins
Meilleurs commentaires des clients
LA MISE EN SCÈNE :
Guy Cassiers, aidés par des acteurs- chanteurs éblouissants, ressert, recentre son propos sur l'intrigue.
Tout d'abord, exit la gesticulation parasite des danseurs d'Anvers.
Quelques projections sobres et judicieuses, sont, ici, enrichies par des objets symboliques à forte signification : au premier acte, la cabane translucide, très graphique de Hunding, au deuxième un ensemble de sculptures équestres, un immense Gyroscope où défilent des lettres, des nombres, témoin du temps qui passe. Il s'arrête brutalement de tourner, aux mots définitifs de Wotan : « Une seule chose me tiens à cœur, la fin »
Au troisième acte une structure qui évoque la Chaussée des Géants d'Irlande sur laquelle chevauchent les Walkyries. Jusqu'à l'apothéose finale où Brünnhilde endormie s'élève lentement vers les flammes protectrices qui descendent des cintres, avant que la totalité de la scène ne s'embrase. Grandiose !
Il faut associer à cette réussite les lumières féeriques d'Enrico Bagnoli, qui, non seulement, entourent amoureusement les personnages, mais animent également les décors : la forêt lumineuse du II, l'embrasement final.
LES INTERPRÈTES :
Que dire de ce plateau qui frôle l'idéal ?
Il semblerait qu'après quelques années de disette, le retour des grands chanteurs wagnériens a sonné.
Avant de tomber dans un dithyrambe absolu, commençons par la relative faiblesse de cette distribution : Simon O'Neill n'est pas, à mon sens, un grand Sigmund, plus à l'aise dans les scènes intimes que dans celles qui réclament du panache.
Le rôle de Fricka a changé par rapport au Prélude, il est tenu maintenant, par Ekaterina Gubanova, nous gagnons en présence, en conviction.
Wotan, lui aussi a changé, ce n'est plus René Pape mais Vitalij Kowaljow. Après une légère déception à la lecture du livret, je dois reconnaitre que sa prestation est plus impressionnante que celle de Pape dans le Prologue : une voix qui emporte tout sur son passage, un jeu d'acteur passionnant, qui redonne Vie au Dieu Wotan, et nous gratifie dans la scène finale d'une tendresse bouleversante.
Que dire des Icônes, Waltraud Meir (Sieglinde) et Nina Stemme (Brünnhilde).
Rien, seul le silence de la plume peut définir l'incroyable émotion ressentie à l'écoute, à la vision de telles incarnations !
L'orchestre de la Scala, sous la direction de son chef Daniel Barenboim, est éblouissant distillant majesté et douceur, éclats et murmures.
Une grande réussite que, personnellement, je situe au sommet des réalisations récentes.
Ouvrons nos yeux, aiguisons nos oreilles pour un grand moment lyrique.
Commentaires client les plus utiles sur Amazon.com
I was a bit disappointed when it did not happen. I had seen the Wotan in this performance in LA ring and I was satisfied with the performance. Fine but not great.
The main surprise was the Brunhilde of Nina Stemme. I was not familiar with her. She is superb in this role and totally worth buying this DVD for her performance alone. I have since seen her live in San Francisco ring and my opinion of her has only improved. She owns this role right now. All others were fine.
The other reason to buy this DVD is the orchestral performance under Daniel Baremboim. Under his direction the orchestra performed magnificently and the sound is excellent.
I enjoed the berating that Baremboim gave the governmenr before the performance began during the live in HD transmission. Unfortunately this was not included in the DVD. It would have been a fine extra to include.
The staging was mostly OK with very simple set and projecttions but for the most part effective. The exception was the final scene when Brunhilde is put to sleep. She looked like a plate of spagetti under a hot lamp. It was in Italy after all...
The singing is all very good. Yes, some of the artists are getting "long in the tooth" but their understanding of the roles far outweighs any negatives (if there are any!). Tomlinson is a brutal and grim Hunding. His voice is still great and his acting is top notch. The twins are portrayed marvelously by O'Neill and Meier. Meier is still beautiful and her vocal and acting skills are fabulous. Both sing with delicacy and power when necessary. Wintersturme in Act 1 is marvelous...beautifull carressed by Barenboim and the La Scala orchestra and sung to near perfection by O'Neill. The ending of Act 1 is thrilling as Barenboim increases the tension little by little to come to a breathtaking conclusion. The staging for this act is evocative and at times frightening and beautiful.
The highlight of Act 2 is the scene in the woods...beginning with Todesverkundigung. O'Neill and Stemme are both great actors. I really felt despair and a glimmer of hope in this scene (even though I knew it would all come to nothing). BTW, Stemme's Valkyrie battle cry at the start of Act 2 is great!!!!! Stemme is a great Brunnhilde (I also love her Isolde)Tristan und Isolde [Blu-ray].Fricka is wonderfully portrayed by Gubanova. She is a excellent singer and an even better actress. This Fricka is majorly pissed off! Kowalijow is a commanding Wotan with a strong voice, great stage presence and good acting skills. Half of his face is black...an interesting touch. Also, it was nice to see a spear that looks like a spear! His monologue leaves one convinced that he has given up on his future. The staging is grand...the huge horse statues and projections giving an epic quality to the first part of the act. The forrest at the end of the act changes color to reflect the actions and emotions of the characters.
The Valkries enter in grand style opening Act 3. The huge projection of dead warriors, horses, and Valkyries is stunning. The highlight of this act is the 3rd scene between Brunnhilde and Wotan. The combination of great singing, great acting, and Barenboim's conducting all come together for a shattering experience. The orchstra is marvelous. The staging fades away during this scene forcing one's complete attention on the emotional drama. The final Feuerezauber is absolutely beautiful. Brunnhilde is raised on a dias amid all manner of flaming beams, orbs, and smoke.
The La Scala orchestra is world class. Barenboim has this music in his soul. So, all in all a great production: good singing, great acting, marvelous conducting, near perfect orchestral execution, clear, unfussy direction, and gorgeous staging.
P.S. The Blu-ray image is crystal clear. The sound is great once you pump up the volume.
But whatever the strengths and weaknesses of the operas in the series, this one is just magnificent. Waltraud Meier is a complicated and passionate Sieglinde, Nina Stemme the most warrior-like Brunhilde to grace the stage. What makes her so remarkable is how deep her voice is, something which really fits the character. As Wotan, Vitalij Kowaljow at first doesn't seem to have the stage presence require of the king of the gods, but I think it's partly just due to his costuming, as he soon takes of the role and finds nuances in the character that make him fascinating in the third act. Really, I was beginning to think of new things philosophically because of the lines he sang. Is human kind's free will so important to God because He does not have it Himself?
Really everyone deserves special mention. Simon O'Neil's Siegmund isn't so great by himself but his duet with Waltraud is the the most miraculous thing I've seen on stage, I was absolutely swept away with them. And speaking of swept away, those Valkyries! I was just up inside the storm with them. The first valkyrie soloist seemed a bit scared to be on stage alone, but she should be! The whole piece was positively terrifying! No other production has come close!
A final special mentioned is reserved for Ekaterina Gubanova as Frikka. This is usually an absolutely thankless role. Wotan's little shrew that is passed off on some past her prime singer who does the minimum to get by. But Ekaterina is absolutely stupendous! I can't get over it. I didn't know the role had so much in it. It's jaw dropping and worth rewinding and watching right over again. I hope to see her again and again.
Some reservations must be mentioned for the set and costuming. I must say I do prefer medieval fantasy sets for this, especially because I haven't seen a good production with fantasy sets. I became interested in the Ring and all of opera in the first place because of my love of mythology. I'd love to see dragons and giants, nymphs and dwarves. I suppose that's technically what you got from the old Met production, but it was also terribly boring, and staid, and Levine's conducting so lifeless. If you've seen P. Craig Russel's comic book adaptation, that's what I'd like to see on stage. As far as this production goes, at least these sets were interesting, and not empty or actually ugly like some other productions on DVD. The Valkurie scene is about the best. The mountaintop horses were nice in the second act. But why was the fight scene apparently taking place in the Matrix? And the lava lamp Magic Fire at the end? Hunding's house also was just boring. But as I said it might not have been what I wanted, but it was at least interesting.
The costuming on the other hand was just bad. Waltraud's first dress was cut far too low for her age, and was not good. Nina Stemma walks around with some giant bustle that I don't even understand. Maybe it was some sort of sack? Siegmund is wearing a shawl? Wotan's leisure suit? The giant zipper down the front of his third act costume? It's was all just ugly. The only exceptions being Frikka's beautiful ball gown that made her really stand out in an already standout performance, and Waltraud's second dress which along with her hair really made her look 20 years younger.
Finally, to end on a high note again. I must applaud Daniel Barenboim. He makes every single phrase stand out and seem important. It's really quite astounding. He must be the best Wagner conductor or out. Every instrument is the star under him. And when his tempi really take off at the end of the first act and during the Walkurie ride it's just thrilling. One odd choice on his part is the incredibly slow tempo for the Magic Fire music. I think he was inspired more by the Sleeping Beauty dream aspect of the story, than the dancing flames the music was intended to suggest. I think I prefer the original way, but it's by no means bad this way, just different.
Let me reiterate the whole production is just wonderful and you will not be disappointed. It's just too bad that it's a rather standalone experience. I haven't seen the others, but clips from this series' Das Rheingold on Youtube look just dreadful, and I'm not certain I'll care to see it through to Gotterdamerung either if Nina Stemme leaves us, but I will get the rest and then decide. Perhaps if all the singers keep changing, I should just pick my favorite individual opera from completely different productions to make the set. In that case, if only the Dahalla Rheingold was on DVD or Bluray. :-)