Added: 4 years ago
From: Oneguin65
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  • What a terrible idea this production is. They managed to turn one of the most gripping and pitiable scenes in opera into a circus act of prancing nuns dressed in white. And, as others said, the director apparently didn't have time to read the libretto, so he didn't realize she used the plants she had so loved to grow over her years in the nunnery to kill herself. That is not idle symbolism. It helps define Angelica's character. But, I guess the important point is all the glass and steel decor.

  • brava!

  • It is not the traditional version of suor angelica, but it is not too bad either. A little bit too dramatic for my taste though... cut open her wrists is an interesting element, but not necessary... it is a bit more dramatically than just using poisonous herbs to commit suicide, so what... I find this very interesting to watch, although I prefer the "happy" end of suor angelica.

  • It's difficult to take this production seriously when action/setting is so different than script. It's far more than simple emotions and mood, and any good director knows it. If a director is unable to work with the script, then perhaps he or she should question whether they have the ability to work with an opera/play/musical at all.

  • She sings incredible, Bravo Chile

  • einfach wahnsinn schön.

  • some fine singing and goodmusical moments, although the very ending scene felt rushed. The untraditional staging looks as if it is done solely for the take of being different, and adds nothing of value; in fact it's rather ridiculous, almost a parody of expressionistic drama completely out of touch with the dramatists intentions.

  • It's a mandate in Germany to produce productions that are in NO way traditional. I do feel like the staging does nothing, at the same time, I LOVE it. How can one improve on THIS particular concept . I am quite fond of it.

  • This is such an amazing performance in my opinion.  I ADORE the 'sterility' if the set. Domas is amazing. Her voice is 'emotion and redemption.'

  • and finally... this isn´t for her voice. Too light for it and that´s why she doesn´t sing the same way anymore. A real pity.

  • This happens normally in Germany. A lot of so called "regiesseur" that want to be different and what actually comes out is a PIECE OF SHIT that nobody really likes and they say it´s a success. I wonder for who?. They kill the composer´s dramatic intention, german conductors normally don´t understand italian music and come with the bullshit about the orchestra and what really happens is that they can´t do it better, etc.

  • @ezayi I have to agree with you. Of course, my perception here is based entirely on what I can actually see in this video, but from here it the nuns tumbling in as Angelica is dying seems a bit Keystone Cops-ish, and it's not at all clear if she was redeemed or not-- and the final redemption is the heart of this little ("little" in the sense that it is short) opera. The bloodied bandages are a dramatic touch

  • @ezayi Same goes for Italian conductors trying to conduct German music. It is a different spirit.

  • @ElisabettaVS The only ones that I know, are the famous one. Germans conductors are too "square" conducting italian music and don´t understand the tradition and style. The reality is, that many "non german" conductors have done german music and became and are VERY famous in the world for doing EVERY opera from all styles. I don´t know any german besides Karakan which was austrian and I didn´t like him doing it neither. He killed singers with his tempis.

  • @ezayi You just go on like "Germans cannot do this" which I don't like. I really don't like the tone in that... Sorry.

  • @ElisabettaVS Sorry my dear... but that´s the truth. There have to be good ones, but those aren´t famous. Probably because they´re far better than the "famous ones", in other words, the ones that are well known in Germany. Again, sorry if you don´t like the tone in that... but its the truth.

  • @ezayi Sorry, I still disagree with that. Surely, it is not about "Germans" conducting Italian stuff in the wrong way, but it is about the German school of conducting. Same goes for the Italian school. Differences-which you can hear in Wagner- if someone, not knowing the "German school" tries Wagner - he/she fails.

  • @ElisabettaVS Ok... name one famous italian conductor doing Wagner... and, when I commented, I meant world famous conductors, not only italians, that are capable of doing all styles of music. I know only Böhm, which did mostly german repertoire. The other one was Karajan, which was much more versatile. The school doesn´t have anything to do with it. It´s the understanding of music and style.

  • @ezayi Antonio Pappano.

  • @ezayi TELL ME? HOW MANY OPERAS HAVE YOU DIRECTED?

  • @regisseurdutch You´ll have to ask 99% of people that go to theaters the same question. Just go to the theaters and look. Mostly nonsense shit!. And... if you don´t like my comment, (with that nickname I guess you´re a regisseur or try to be), you can kiss my ass!!!

  • Interesting production! Apparently she slit her wrists with toxic herbs. Brava Gallardo-Domas! She succeeds when even the on-stage bedlam fails to persuade.

  • She is an excellent soprano. Her role of Angelica in Buenos Aires was awesome. I dislike the regie...lacks the most important part in this particular opera: emotion and redemption.

  • Ich liebe diese Oper, ich würde dafür sterben!!!

  • Good but I prefer, Frittoli 1000 x

  • Brava!

  • la interpretacion vocal, de Cristina es excelente, es su época dorda definitivamente, pero la escena, es la mas ridicula q he visto, horrenda, aunque ella actoralmente tengo mis dudas este rol, le quedaba bien

  • Ms. Domas definitely has the vocal chops to carry off this scene (not everyone does). But I just have an issue with the sterility of the set which smacks of the typical German registheater that often sucks the emotion of out of the music and tries way too hard to make intellectual points.

    Here in San Francisco they tried that route for a few years and the administration was basically forced out. How about being both provocative AND emotionally truthful? It's possible!

  • No me gustó. Una muy buena cantante con una pésima dirección escénica.Puccini escribió claramente que el final se representaba de forma distinta.

  • vorrei condividere con voi un pensiero sulla direzione! vorrei sapere perchè il direttore di questa recita amburghese utilizza questi tempi e queste sonorità...la scotto, a mio parere aveva il direttore molto più sensibile e preparato dalla sua. infatti ha tutta la libertà di esprimersi con un tempo più lento e una sonorità che le permette di rispettare la voce e la dinamica...povera Gallardo-Domas...il direttore dirige puccini come fosse Strauss.

  • thank you. I'ts so strong!

  • Spettacolo orrendo. Da notare che prima si fascia le ferite, poi realizza di essersi data la morte. Che logica. Lei ha bella voce e buoni acuti, ma per il resto non fa dimenticare né la Tebaldi né la Freni né la Scotto. Forse è la scarsa dimestichezza con l'italiano, che pesa.

    Ad ogni modo quest'opera è stupenda!

  • Discreta la Gallardo in questa aria, trovo più brave tanto la Scotto, che la Freni, la parte finale di Suor Angelica È certo uno dei capolavori del grande maestro Puccini.

    Grazie del video.

  • Is she going insane before cutting her veins? Have you ever seen someone who had cut his veins running for bandage immediately afterwards? If the director wants blood let blood be shed. And those crazy nuns, their behaviour resembles monkeys'...

  • i don't think you really got the story. it's the POINT of it all. she kills herself and a moment later she realizes she will be damned for it.

    @kotiplessa: give me an artist like gallardo-domas everyday instead of a boring tone-deliverer like Ms.F

  • You haven't understood my question. It was a rhetorical one. Of course, I'm perfectly aware what happens in the story. The point is she seems out of her mind all the way through the final and she must come in her senses in order to realise she'd be damned. And this never happens, instead she is occupied to make credible a death that is not even part of the original story: you know shaking, convulsions, etc. that is meaningless but in compensation - so modern.

  • e a Milano, c'è chi si lamenta della regia di Ronconi!!!!

  • Ma nei teatri tedeschi che cosa si fumano i registi?

  • concordo!!!

  • The proof in the pudding is the tepid response of the audience. That says it all.... Puccini's score deserved better. I understand the need to re-stage, but to de-claw a work as well? That's not new theater, that just bad theater.

  • I am so happy that there actually exist different approaches to opera than the terribly cheesy production you could see in New York

  • First rate singing, but someone please tell me why she cut her wrists? Isn't it actually written into the score that Angelica poisons herself? Directorial vision is one thing, but changing the story is quite another... Furthermore, isn't she supposed to be redeemed at the end?

  • well, in fact Puccini's score says she poisons herself, but the stage director "point of view" change it into this end!, I think, being a stage director and musician, we should respect composers indications, but not every body does it; no wonder why people thinks at opera as something incomprehensible!!, if you say something and do another, I would get confuse too!!

  • She's very good, but the set seems an operating room

  • Mi correggo, lei non è malissimo, la scena è orribile. In confronto alla Frittoli in questo ruolo è una dea

  • In fatti, le regie così strane non fanno altro che confondere e decrescere il livello delle opere... Suor angelica è un capolavoro, ma fatta in questa maniera sembra che mancasse qualcosa... meno male che la cantane è brava!

  • La Gallardo qui non è malissimo ma l'ho sentita in Liù e non mi è proprio piaciuta. L'opera è veramente meravigliosa. Dovresti sentire la Frittoli nel 2007 al Metropolitan, è strepitosa!!

  • Deprimente....

  • Wonderful singing by Christina, but a great shame it was in an awful production!

  • If leave apart the irritating change (Suor Angelica suicides by poisoning), I think the overdone naturalism doesn't contribute to the character and is quite repellent; no room for human emotions but for bloody 'massacre'. Vocally Gallardo-Domas is better than in Butterfly.

  • Intensa sensibile interpretazione, espressiva

    toccante canto che sgorga dal cuore,grande

    cantante. Onore a PUCCINI per questo

    capolavoro.

  • Gallardo Domas se ha apoderado del rol de Suor Angelica y ésta la ha poseido. Un canto maravilloso y una interpretación que no tiene límites. BRAVO! Y SIN DUDAS LA MEJOR SOPRANO DE LOS ULTIMOS DIEZ AÑOS: Latioamerica enseña al mundo cómo se canta de verdad la Opera tal como la pensaron sus autores: VIVA PUCCINI!!!!

  • Wow - it certainly conveys a sense of religious ecstasy, and the miracle of divine forgiveness, doesn't it?

    NOT.

    Why can't today's directors honor the intention of the original librettist and composer? I know what - let's do a production of Hamlet wherein Hamlet does not die and when Horatio says "Good night sweet Prince," they hold hands and go to bed together. Who cares what Shakespeare intended?

  • You are very judgemental. These changes are not like your living Hamlet suggests - that is a poor comparison. I'm sorry that a director attempting to make opera live today does not pass your standards - thank GOD!

  • If "judgmental" means a respect for the composer's art, then yes, you can call me that if you like. I prefer the word "discerning" but it's all the same thing. It's a pity that whoever conceived and directed this did not know how to read a musical score or simple stage directions.

  • If judgmental means a respect for the composer's art, then I will accept that label... although I prefer the word "discerning." What is gained by this distortion of Puccini's work? How does it increase our understanding of Angelica and her plight? It's a pity that this director does not know how to read a music score or follow simple stage directions, to the point that the meaning of the work is lost.

  • No, judgemental is just that - JUDGEMENTAL. I did not you spoke for all.

  • Fine with me - call me that all you want and more; I don't mind. But explain to me how this director's concept of the Miracle scene helps us to further understand and appreciate Puccini's original work.

  • If bunch of running about crazy nuns (as this director happened to see them) helps you to understand the deep meaning of the Puccini's music, OK. I wonder what the next treatment would be: Suor Angelica dying from overdose or anorexy.

  • La interpretación de Gallardo-Domás en Suor Angelica pasará a la historia sin género de dudas. Intensa, emocionante, sin parangón.

    Lástima que aquí tenga que lidiar con una producción tan estúpida como esta, pero cierren los ojos y déjense llevar por el canto de primera fila de esta grandísima pucciniana

  • Mira esta producione es una maravilha...La direcione de CENA fue ESTUPENDA...Gallardo contempla lo restante com su belissima voce...Mas es um espetaculo completo.Abstraia cenario, es secundario.ATUACIONES.el palco esta lleno de grandes atrizes.BRAVAS TODAS!

  • ESPECTACULAR!

  • that set! what about the fact that it's not puccini. she doesn't slit her wrist, a miracle happens, etc. not here. some jerk off decided he make up his own thing. mtv meets opera.

  • spectacular

    that is moving and touching theatre, not what ahs been seen just recently at the met...

  • Brava!!!!!!!!!!!!!!!

  • She's her usual best, but this production is amazing I think- not too overtly grotesque and unusually frenetic and charged.

  • Please watch the concert version posted in video google, is the most beautiful performance ever of Suor Angelica, Cristina at her best

  • It's not the scored ending, but it's interesting. The closest Puccini ever got to those ancient mad scenes!

  • I love that set, and she is soooo God i Saw her in mefistofele in teather colon

  • Loved her singing but that SET!

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