Interesting that Mozart and Da Ponte argued about the ending, and Mozrt stood firm in the forgiveness and reconciliation ... in which case, in Mozart's MUSIC and HEART, love never dies! Why in this production love should die ... I don't know why ..... in any case .... the singing is very very very GOOD!
The singing is wonderful, the idea a bit silly... I guess i can kind of understand the point of it and see how it would appeal to some, but for me, nothing is better than the original
THIS IS CRAP!! I'm sorry - Mozart and Daponte were pretty bright fellow. If they wanted a boy to walk around with wings on the entire opera and touch people, they would have written him into the opera. - The "Cupid" does nothing to illuminate the story - not to mention the ridiculous ending of the opera with Cherubino dying!!!! I am so tired of productions like this being called "amazing" and that "it seems only enlightened minds can wrap their ideas around it... "
The angel represents, I think, love. He's about the way love can affect our actions, which is why, throughout the production, he is constantly manipulating people, causing them to become attracted to various people, etc. At the end, during the finale, you'll notice he has lost all of his power. He can't move anyone... except, of course, for Cherubino. All of the other characters have found their soulmates, so to speak. They can't be moved. But Cherubino's still with Barbarina...
... he hasn't found the person he is meant to be with. And he is, therefore, still affected by this dangerous power.
You'll notice that Cherubino is dressed like the angel, which underlies their similarities. Cherubino is also the youngest of the main characters, and maybe that's why he isn't hooked up at the end: we know that his relationship with Barbarina doesn't last. And maybe his "death" is a foreshadow of the third part of this story.
G4thz - Your observations are most likely all correct. I was never under the impression that Figaro needed "help." Adding an Angel who, as you say, manipulates people people seems rather superfluous - considering this opera is one of the greatest ever written. As far as foreshadowing Cherubino's eventual demise on the battlefield - seems a little premature and over the top. Just my 2 cents. But nice having an intelligent conversation with you!!
Is it comical, though? Does the Countess choose to stay with the Count because of her true love? Does she really forgive him? Or is this just what was expected of her by society? Does she really have a choice?
i can see the meaning behind the whole cupid thing (looking like an older cherubino -- that's kinda cool, especially since the angel is able to metaphorically remove her blindfold to cherubino's love, so to speak... that might be a bit of a stretch though) but i'm not too fond of it. i like the more modern costuming though.
me encanta que aca todos se ponen y dicen " no es buena cantante" y bla; bla bla??? cuantos estudian canto? creo que ninguno!!! ( yo si lo hago; ACLARO)
She is not a very good singer, and after all i can't understand what's happening... There shouldn't be an angel and a young boy with Cherubino... but only Susanna...
The only explanation is that this entire production is a complete joke. They wanted to see how horrible they could make it and have people still like it.
It´s absolutely fantastic from around 2:00, when Christine Schäfer slowly moves down to the ground and her singing gets more slow and quiet second by second....brilliant!!!
No, nothing TO DARK. Susanna isn`t a Soubrette, she`s a lyric soprano, like Netrebko.
I really like Netrebkos Susanna ( I like Netrebko only in Mozart ). And I like her dark voice, I like dark voices more for Mozart! Not heavy voices, but dark voices.
She's far too on the spinto side of the full lyric (not LIGHT lyric) to be a Susanna. The colour of her voice doesn't match this role's lightness and etheralness in such arias as in Deh vieni. You're right, Susanna is a LIGHT LYRIC SOPRANO. Anna Netrbko is a FULL LYRIC, like any ideal CONTESSA would be. I think she woudl make an interesting one, just she is not as good at Susanna. I LOVE dark voices. One of my favourites is Vesselina Kasarova anyway. But when Susanna is darker ...
... than the Marcellina, there is a serious problem. Have you seen the duet Via resti on here?! The characterization is interesting, but the voice choices are ridiculous!
oh yes...Marie McLaughlin was a great Susanna and Despina, but here...No, she was ill that night, she is a great Marcellina too in the version with Jacobs (you can find it on youtube). I like dark voices for Susanna, but this is only miy oppinion...I like a lyric soprano too for the Donna Anna in Don Giovanni.
But I think, Netrebko would be a great Contessa, Elvira and Fiordiligi. How do you think about Schäfer as Cherubino?
I don't like the tempo, first of all, whcih I know is out of her hands. Second, she slurs her words a little too much for my taste. And plus, I like darker sounding more boyish CHerubino's. YOu know, the kind that sound in between puberty. I am more biased to the mezzos, I know it. I was fine with soprano Cherubino until all three women started having a three way during Venite Igniosomething or other. Susanna's first aria. That just did it for me, I thought this was to be a silly opera.
Outstanding singing!!! I love this aria. Plus the guy playing as cupid (I suppose that's who he is portraying) is hot (well at least I think he is). lol
I tried to figure this out, too, and I decided that the Cherubin was magically controlling the behavior of the humans, and without his influence they all went back to normal.
I watched this performance last year 7 times (because I worked at the Salzburg Festival as I do this year) and bought the DVD. In my opinion the role of Ulli Kirsch (the Cherubim) is senseless, it would have worked without him. This year Figaro is played again, it's the same production but another cast (instead of Netrebko, Schäfer, Skovhus, D'Arcangelo and Harnoncourt there are Damrau, Jankova, Finley, Pisaroni and Harding).
The singing can match the performance of last year but only in some cases. Damrau and Finley are very good but reserved too, Jankvoa is not bad but she and Schäfer are dimensions apart, Pisaroni isn't bad either but I prefer D'Arcangelo. Concerning the conductor I've to say that I adore the way Nikolaus Harnoncourt conducts and in my opinion Daniel Harding is the worst member of this performance.
Harnoncourt messed up this opera with his tempi. He was trying to hard to say something "new." I'm a fan of his, but his tempi are just plain strange. I think the set looks nice. But the direction is ridiculous. The little angel man has to go.
Christine Schäfer's talent, charisma and commitment are a treasure. Everything she does, she does it no holds barred. Even the idiotic Paris Figaro of last year is worth seeing for her hilarious "homeboy" Cherubino. This Salzburg production is odd, and there does seem to be some confusion on the part of the creative staff about the comedy--they forgot it--but there is real beauty here, and Schäfer is the main font of it.
Schaefer is a fantastic Cherubino!
beteltree 3 weeks ago
dio, che noia. che inutilità registiche, fatte apposta per disturbare cantanti e pubblico...
uff...
alflig1 8 months ago
beautiful
MrPablo1103 10 months ago
Wow this is Mozart meets Stephen Poliakoff, not sure what to make of it!
0smithf 11 months ago
Wonderful singing - no idea what the staging is about. But why do they always take the role away from the mezzos? Thanks for the upload :)
dialectgirl 1 year ago
Unfortunately this staging of Figaro caused some headaches in my part...but nevertheless a wonder to behold!
jantigercat 1 year ago
christine schäfer singt anna netrebko an die wand
juerfromm 1 year ago
mozart was a genius. and singers are excelent.
danutpopescu1 1 year ago
bravissima voce stupenda bellissima idea di portare la scna nei anni 50 ,belissime scene
pescaresedamestre 1 year ago
Bravissima! Just great!!
nigulat 2 years ago
So, why was this character totally just made up???
Wow...this Anna girl is like a combination of Maria Callas and Audrey Hepburn!
iangatsby21 2 years ago
Interesting that Mozart and Da Ponte argued about the ending, and Mozrt stood firm in the forgiveness and reconciliation ... in which case, in Mozart's MUSIC and HEART, love never dies! Why in this production love should die ... I don't know why ..... in any case .... the singing is very very very GOOD!
ARTUROPVIOLA 2 years ago
The singing is wonderful, the idea a bit silly... I guess i can kind of understand the point of it and see how it would appeal to some, but for me, nothing is better than the original
ahhnitah 2 years ago
it's like the crossbreed of Sound of Music and The Others
chevrox 2 years ago
I do want to say that the cast is brilliant!
mshellnj 2 years ago
THIS IS CRAP!! I'm sorry - Mozart and Daponte were pretty bright fellow. If they wanted a boy to walk around with wings on the entire opera and touch people, they would have written him into the opera. - The "Cupid" does nothing to illuminate the story - not to mention the ridiculous ending of the opera with Cherubino dying!!!! I am so tired of productions like this being called "amazing" and that "it seems only enlightened minds can wrap their ideas around it... "
mshellnj 2 years ago
The angel represents, I think, love. He's about the way love can affect our actions, which is why, throughout the production, he is constantly manipulating people, causing them to become attracted to various people, etc. At the end, during the finale, you'll notice he has lost all of his power. He can't move anyone... except, of course, for Cherubino. All of the other characters have found their soulmates, so to speak. They can't be moved. But Cherubino's still with Barbarina...
g4thz 2 years ago
... he hasn't found the person he is meant to be with. And he is, therefore, still affected by this dangerous power.
You'll notice that Cherubino is dressed like the angel, which underlies their similarities. Cherubino is also the youngest of the main characters, and maybe that's why he isn't hooked up at the end: we know that his relationship with Barbarina doesn't last. And maybe his "death" is a foreshadow of the third part of this story.
(this was to patrickjohn84)
g4thz 2 years ago
oops, not to patrickjohn84 but to mshellnj, sorry!
g4thz 2 years ago
G4thz - Your observations are most likely all correct. I was never under the impression that Figaro needed "help." Adding an Angel who, as you say, manipulates people people seems rather superfluous - considering this opera is one of the greatest ever written. As far as foreshadowing Cherubino's eventual demise on the battlefield - seems a little premature and over the top. Just my 2 cents. But nice having an intelligent conversation with you!!
mshellnj 2 years ago
The director seems to be leaning towards Monteverdi's plot/libretto style a little... it seems to me...
drakkonami 1 year ago
It's not Cherubino who dies, but love. I don't like the idea either, especially because this opera is supposed to be funny and comical, not scary.
Baccalaureus79 2 years ago
Is it comical, though? Does the Countess choose to stay with the Count because of her true love? Does she really forgive him? Or is this just what was expected of her by society? Does she really have a choice?
That changes the meaning for me.
g4thz 2 years ago
After watching the DVD the surrealism carried over into my sleep causing me to have some strange dreams. I thought it was great, hahaha!
patrickjohn84 3 years ago
where can I find the dvd? thanks for any advice...
kove00 2 years ago
I bought mine at Borders but I think you can also find it on Amazon.
patrickjohn84 2 years ago
I kno its amazing isnt it! it seems only enlightened minds can wrap their ideas around it...
hillevifan 2 years ago
choreography lol
i can see the meaning behind the whole cupid thing (looking like an older cherubino -- that's kinda cool, especially since the angel is able to metaphorically remove her blindfold to cherubino's love, so to speak... that might be a bit of a stretch though) but i'm not too fond of it. i like the more modern costuming though.
stephlikes2sing 3 years ago
me encanta que aca todos se ponen y dicen " no es buena cantante" y bla; bla bla??? cuantos estudian canto? creo que ninguno!!! ( yo si lo hago; ACLARO)
solsticio82 3 years ago
What's up with the interpretive dance at 0:45?
freyjagirl 3 years ago
She is not a very good singer, and after all i can't understand what's happening... There shouldn't be an angel and a young boy with Cherubino... but only Susanna...
VanVitot 3 years ago
The only explanation is that this entire production is a complete joke. They wanted to see how horrible they could make it and have people still like it.
KatherineXIX 3 years ago
LOL, i have to agree :]
Satirike 3 years ago
im posting my new pics
da3nchantr3ss 3 years ago
I love the ending!!!
g4thz 3 years ago
Maybe a bit too fast. Rubbish production. Beautiful singing.
MiChiamanoMimi1 3 years ago
...maybe Cherubino have to attend an italian course
enrico1979 3 years ago
It´s absolutely fantastic from around 2:00, when Christine Schäfer slowly moves down to the ground and her singing gets more slow and quiet second by second....brilliant!!!
FuechschenAlt 3 years ago
like this version of aria, but not the production.
the guy playing as cupid...wow! he's extremely handsome. He could be an angel! ;-)
yulisaaa 3 years ago
Cupid is a god. ;)
redrumax 3 years ago
Omgosh, is that Anna Netrebko (spelling?) as Susanna?
cleareyedwolf 3 years ago
yes, is that a problem?
DessayBestSinger 3 years ago
Hell yes it is, WAY TOO DARK.
olympicfreak678 3 years ago
No, nothing TO DARK. Susanna isn`t a Soubrette, she`s a lyric soprano, like Netrebko.
I really like Netrebkos Susanna ( I like Netrebko only in Mozart ). And I like her dark voice, I like dark voices more for Mozart! Not heavy voices, but dark voices.
aeru9 3 years ago
She's far too on the spinto side of the full lyric (not LIGHT lyric) to be a Susanna. The colour of her voice doesn't match this role's lightness and etheralness in such arias as in Deh vieni. You're right, Susanna is a LIGHT LYRIC SOPRANO. Anna Netrbko is a FULL LYRIC, like any ideal CONTESSA would be. I think she woudl make an interesting one, just she is not as good at Susanna. I LOVE dark voices. One of my favourites is Vesselina Kasarova anyway. But when Susanna is darker ...
olympicfreak678 3 years ago
... than the Marcellina, there is a serious problem. Have you seen the duet Via resti on here?! The characterization is interesting, but the voice choices are ridiculous!
olympicfreak678 3 years ago
oh yes...Marie McLaughlin was a great Susanna and Despina, but here...No, she was ill that night, she is a great Marcellina too in the version with Jacobs (you can find it on youtube). I like dark voices for Susanna, but this is only miy oppinion...I like a lyric soprano too for the Donna Anna in Don Giovanni.
But I think, Netrebko would be a great Contessa, Elvira and Fiordiligi. How do you think about Schäfer as Cherubino?
aeru9 3 years ago
I don't like the tempo, first of all, whcih I know is out of her hands. Second, she slurs her words a little too much for my taste. And plus, I like darker sounding more boyish CHerubino's. YOu know, the kind that sound in between puberty. I am more biased to the mezzos, I know it. I was fine with soprano Cherubino until all three women started having a three way during Venite Igniosomething or other. Susanna's first aria. That just did it for me, I thought this was to be a silly opera.
olympicfreak678 3 years ago
Omgosh, this is so weird. I hate when they get weird on opera. Artistic is one thing. This is a bit much...
Sidenote: It's so funny that you can tell that it's Christine Shafer (spelling?) even with the blindfold. :) She's so distinctive...
cleareyedwolf 3 years ago
yes your right- spelling is schafer not shafer :)
hillevifan 3 years ago
umm, nope, it's 'Schäfer'
BeppoBrehm 3 years ago
It's totally stupid and disgusting.
redrumax 3 years ago
Yes, thank you!! This is definitely one of the worst productions of Nozze that I've ever seen.
cleareyedwolf 3 years ago
I think it's cool. When operas have been seen so many times the same way, someone needs to shake them up. Sure, it may ruffle some feathers...
g4thz 3 years ago
roflmao Salzburg productions are so funny...in a bad way.
Satirike 3 years ago
She is just fantastic. I believe the only one in this production that is really the whole deal. I just LOVE her. BRAVA!
Sochilinda 4 years ago
Outstanding singing!!! I love this aria. Plus the guy playing as cupid (I suppose that's who he is portraying) is hot (well at least I think he is). lol
5/5 stars!
lomoto69 4 years ago
that was...weird. Good singing though.
polarqueen 4 years ago
you're... retarded... the song's about love numb nuts... therefore, cupid is absolutely necessary, especially if he's hot.
Frenrichnermorti 3 years ago
then explain why cupid is hugging figaro during "se vuol ballare" ^^
serRudyll 3 years ago
he's not hugging figaro, he's blinding and manipulating him. it's figaro being a jealous bastard.
minirausch 3 years ago
I figured out why she has a blindfold! So she can't see such an ugly production!
Wait, never mind. She fully saw she was making out with another girl in the second act.
olympicfreak678 4 years ago
TWO other girls! JUST what Mozart would have wanted!
KatherineXIX 3 years ago
My thought exactly. Makes me sick.
olympicfreak678 3 years ago
Seems kinda hard to watch the conductor with a blindfold on. ;0
mfuz99 4 years ago
I tried to figure this out, too, and I decided that the Cherubin was magically controlling the behavior of the humans, and without his influence they all went back to normal.
drbarbarabaker 4 years ago
Haha! Christine is great, but can anyone explain this interpretation to me? It's a bit over my head...
anaerobicrespiration 4 years ago
who is the winged character supposed to be?
allysoma 4 years ago
cupid? the song is about love.
Frenrichnermorti 3 years ago
Christine Schafer is a treasure. Wonderful singer. Superb as Konstanze in Mozarts Abduction From The Harem .
Petestube33 4 years ago
Hi Stanncie! What did you find weird in terms of the acting?
Zeitschichten 4 years ago
I watched this performance last year 7 times (because I worked at the Salzburg Festival as I do this year) and bought the DVD. In my opinion the role of Ulli Kirsch (the Cherubim) is senseless, it would have worked without him. This year Figaro is played again, it's the same production but another cast (instead of Netrebko, Schäfer, Skovhus, D'Arcangelo and Harnoncourt there are Damrau, Jankova, Finley, Pisaroni and Harding).
Ethratian 4 years ago
The singing can match the performance of last year but only in some cases. Damrau and Finley are very good but reserved too, Jankvoa is not bad but she and Schäfer are dimensions apart, Pisaroni isn't bad either but I prefer D'Arcangelo. Concerning the conductor I've to say that I adore the way Nikolaus Harnoncourt conducts and in my opinion Daniel Harding is the worst member of this performance.
Ethratian 4 years ago
Harnoncourt messed up this opera with his tempi. He was trying to hard to say something "new." I'm a fan of his, but his tempi are just plain strange. I think the set looks nice. But the direction is ridiculous. The little angel man has to go.
norcalrobbie2 4 years ago
That's what I thought... It makes sense.
ares7768 3 years ago
the singing is great but the production is more than a little odd! I laughed all the way through at the weird acting
stanncie 4 years ago
Christine Schäfer's talent, charisma and commitment are a treasure. Everything she does, she does it no holds barred. Even the idiotic Paris Figaro of last year is worth seeing for her hilarious "homeboy" Cherubino. This Salzburg production is odd, and there does seem to be some confusion on the part of the creative staff about the comedy--they forgot it--but there is real beauty here, and Schäfer is the main font of it.
tanasibilio 4 years ago
In my opinion this is the best performance of this aria.
I know very well that there are many people that don't like this performance and prefer other singers.
Ethratian 4 years ago
I think you're right. She's fantastic.
Evitasoprano 4 years ago