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From: saitbey
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  • al ma pias: "delle belle turbando il riposo"

  • GTA III

  • I honestly can't tell the difference between "good" stage direction and "bad" stage direction. You guys are a bunch of snobs.

  • this song always reminds me of Lestat dancing with a corpse

  • Wow ... this is dark. Poor Cherubino! I don't think I've ever felt as sorry for him! I suppose the central pretext of the opera (that of "feudal rights") is rather ominous, though ... I do find Figarro's general 'teasing' of Cherubino with this song disturbing, but this is VERY bleak.

  • I'd like to know who is the stage director, because in my humble opinion he's a ferocious music killer. People like him should have nothing to do with great musicians like D'arcangelo and Harnoncourt.

  • What a beautiful scene! Clearly Mozart was a genius and of great eloquence and grace! Raúl de Argentina

  • He's hot for an Opera singer.

  • grand theft auto

  • 24 Salieri fans

  • The director's entirely entitled to his interpretation, but I find this unpleasantly dark for Figaro.

  • Comment removed

  • E qui è proprio il caso di dirlo...Figarooo!!! *-* (in tutti i sensi!!!) Ahahahah XD Scusatemi, sto delirando, ma dovete capirmi, è tutto il giorno che studio a capofitto, a quest'ora della sera non rispondo più delle mie azioni XD No però, a parte gli scherzi, lui è veramente TANTA ma TANTA roba!!! XD (vabbè, che abbia una voce meravigliosa e dannatamente sensuale è implicito, non c'era manco bisogno di dirlo)...

  • Interpretazione magistrale. La conferma ( se ce ne fosse bisogno ) viene dagli pseudocommenti americani. Questo è un baritono ( ed anche basso ) coi contro...fiocchi!

  • c'est du délire dans mon coeur !!!!!

  • ....words?

  • Everyone watch this and see if you here a resemblence...../watch?v=-ciFT­P_KRy4

  • modern style opera is pathetic!

  • gli americani non potranno mai capire un cazzo, è un popolo zingaro fondato circa 500 anni fa, non ha storia, non ha cultura, non hanno nemmeno una discendenza purosangue, sono africani inglesi, messicani, cinesi, irlandesi. Che cazzo di razza sono????????

  • @falcoTNT si è vero!! sono loro patetici!!

  • I stick with the Terfel's version.

  • Mi chiedo quando gli americani smetteranno di sparare cazzate ed inizieranno ad apprezzare l'arte.

    Splendida voce.

  • i dont know how i feel about this interpretation. i think figaro cutting her and roughing her up takes away from the fact that its a comedy. i was a touch disturbed. but he has a fantastic voice!

  • bulling

    

  • gta

  • @anonforuz Gta's version is better. =)

  • @muso2007 : )

  • have mercy, so handsome, such a voice!! im in love!!! fabulous!

  • this music reminds me on the "Parademarsch der langen Kerls"

  • Jesus... this is a comedy, what the hell! Figaro wasn't supposed rough him up he was supposed to cheer him up! Poor little guy/woman...

  • @HParker001

    ACTING! haha

  • It's a pretty nice idea to use one of the most popular opera song in the world in a part of theater that happens in the modern era. The singer is pretty good as well!

    But please: TRY TO PUT A SONG THAT THE LYRICS ARE FITTING IN THE CONTEXT!!!!!

    COME ON!!!

    We are all fans of mozart and there is no need to show it to everybody in that repulsive way!

  • I am sure that the stage director (Regisseur) has a good and "acceptable" explanation for his "fantastic" Regie Konzept of stuffing poor-boy Cherubino's mouth full of (what are those?) Dollar bills. I have to say: bru-ha-ha-ha. Hibbidy-hobbidy, that's all folks!

  • Eh. One might say the same things about what the libretto did to the message of the play that the direction here did to the message of the libretto. Seems very hypocritical to say that the direction shouldn't ever be different from the original when the opera isn't the original itself.

  • Why do the costumes look so sloppy? Those suites are clearly not what people wore back then.

  • my favorite of all time

  • The orchestra is pitifully directed. The musicians have to follow the singers, not the opposite.

  • Interesting. Much darker than usual, although it does well at foreshadowing cherubino's fate in the army.

  • Grande mozart.

  • Such a wonderful piece!! :D

  • splendid!

  • Comment removed

  • wow he is really good but isnt he too serious for this role? i thought figaro is a sereneness guy?

    but nethertheless he is really good...

  • I don't think it's as much Ildebrand's acting as it is the crappy direction. I could see him playing a more serene Figaro. And I agree that Figaro isn't a knife-branding bloke.

  • D'Arcangelo's magnificient performance is overshadowed by the abysmal stage direction. The conductor isn't perfect either.

  • @OOIEatte And the intermission beer was warm. Just joking.

  • @BeerGogglesReviews all the beer in the world couldn't have saved this performance.

  • @OOIEatte HEHEHE.

  • 1/5 rating!

  • ildebrando è della mia città.

  • grandissima opera di un grande autore :)

  • 1:32 and onwards: unprofessional...

    Supposed to be a fun opera, looks gloomy too much pain and suffering.

  • The significant imperfection of the rhythm (I can't tell if it's the singer's or the conductor's fault) and togetherness is pretty distracting.

  • Mi è piaciuta questa interpretazione... assai tetra =)

  • I can't make head or tail out of this production. Brilliant singers ('cept for la Netrebko, who is too dark and heavy a Susanna), but what is this supposed to be? All this internalisation - the Figaro is a piece of social criticism hidden within a burlesque. This psychological ballooney is not at all to my liking.

  • whats the singers name? love him

  • Ildebrando D'Arcangelo

  • aaaw how cute, that Cherubino looks somehow lost and weak, so cute ^^

  • Travesty!

  • qst versione delle nozze di figaro mi piace tantisssimo!!!!!!!

  • il canto mi sembra di tutto rispetto, l'aspetto scenico non mi convince per niente... harnoncourt deve fare bach, e lasciar perdere mozart.

  • 1:30 those recitative-like is really annoying. And that horror scene, with blood... why???

    Those awful "ideas" is like smearing a masterwork! Harnoncourt horrible as always, he even dares to masquerade himsef as a philologist... Ridiculous!

  • Wow. That Cherub's terrificaly handsome.

  • he's fabulous! the rest is not!!!!

  • I love this production. Taking it a step further from what director Peter Sellars did twenty years ago. The play is from 1784, so 222 years later I do occasionally would like to see an in-depth analysis of the characters and the way they behave. And suddenly it's not a comedy any more. But about manipulation, temptation and revenge. Yet with the same, beautiful music, regardless of who directs.

  • beh! di tutto rispetto

  • xav71176 the role was written for baritone. bass-baritone, but nevertheless baritone. but i definitely agree with u on everything else. the stage direction sucks

  • hahahaha awesome!

  • What a pity when the stage direction ruins it all...

    The conductor is not flawless either...

    Great singing though... this role should be sung by basses rather than baritones.

  • its for baritones and not many basses have strenth on higher notes, so lets stick with what the composer correctly wrote the music for...a baritone

  • Super!

  • quello è uno dei migliori del mondo lo ricordo per la prima volta che lo ho visto nel barbiere di siviglia però mi piace di più thomas epson

  • the video quality on this is remarkable! and i love this singing.

  • bello ...............complimenti

  • Did he really cut her hair and arm, then rub it on her face? what a freak! great piece btw

  • He really cuts her, luckily she's a fast healer cause they do a lot of shows.

  • Bravo Ildebrando. Number 1

  • Horrible conduction and direction.Poor D'Arcangelo,why was he there in that production?Better for him to go away,as far as possible, from this garbage.

  • Bella opera e bravi anche gli attori.

  • Bravo :) e davvero bellissima Cherubino ^^ ...con quell'aria brillante... ^^

  • Comment removed

  • Harnoncourt rocks.

  • Gott, was für eine besch..., Verzeihung, bescheuerte Inszenierung !

  • omg this is frightening almost. i understand the contemporary parts of it, but to cut the boy's arm (i know its not real blood), for example, i mean my goodness! in the realm of the production, however, i do like cupid's concern at the end. this is merely my opinion.

  • quella k tognazzi e compari cantano in amici miei...2 capolavori...

  • out of curiosity....

    does anyone know where to get sheet music for THIS specific part of the opera?

    He plays it in one section of the movie "Amadeus" so I wondered if it was possible to find.

  • ahahaah sta canzone ce kla fa sentire la mannaniciii!! troppo forteeee ahahahhahaah me fa tajà

  • I don't really like this interpertation of Mozart's Le Nozze de Figaro. To be even more honest, I think that it is terrible.

  • wow i can't belive i like music like this clasical has a uniqe sound though

  • I can't help thinking that since this period of music humanity has declined, in 200 years this has not yet been beaten. Mozart is the very voice of God.

  • Agreed.

  • Beethoven probably beat Mozart; Mozart was born genius while Beethoven had genius brought out of him by blood and sweat and tears from childhood on. But I get your point about classical music, specially early classical, before romantic.

  • Beethoven couldn't write opera though. Only got one completed and it was a lot of hard work.

  • this song was on a little game called gta3. i basically played for this music to come on the radio. when it did i'd park up outside the don's mansion and enjoy

  • regarding the "retarded" bit. I agree it's totally weird. The conductor seems to have decided this section is recitative. I guess it's an interesting idea but the orchestra didn't seem to agree and it was really sloppy. Oh well. But I have a copy of this in my collection and didn't want to see it because the other operas from this box are so badly done. Especially DON G. And I'd love someone to explain the EGG on stage in Figaro. However this looks great. So I'm going to watch it. Now!

  • Damn this is amazing. LOVE IT! btw, actress who plays Cherubino is too cute for words. Who is she?

  • That's Christine Schäfer. She's perfect for this role.

  • Haha, I just realized that right around 1:33, the conductor becomes retarded up until the "dum da dum"s end. Anyone else hear it?

  • Yeah I do!! It's really weird!! I guess he's retarded for real... =D

  • That was probably the director's idea of abstracting this already abstracted, obscured opera that's as traditional as they come!!! And just to let you know, I think this production is horrible!!! I apologize if I offend you by saying that!!!

  • Anyone who LIKES it offends me by saying it! This production=epic fail.

  • I LIKE IT! So, go figure! Opera should get people speaking as this production does. It was very interesting to watch and I would love to take part in this kind of productions.But, this is just my huble oppinion and I am intitled to one as well as you are by saying that this is an "epic fail".

  • Nothing in the world is inherently wrong with modern-dress productions. Hell, even avant-garde ones. The 2005 Salzburg Traviata is actually growing on me, and it's both. However, they have to be done well, preserving the composer and librettist's original intentions, and this production does neither. Figaro is supposed to be a joyful romp with dramatic moments, and this is just a claustrophobic, emotionless nightmare.

  • Great sound!

  • ares7768, according to Da Ponte's Memoirs, the Austrian Emperor had considered Beaumarchais' COMEDY 'Le Mariage de Figaro' too licentious for the Court, so he forbade the company at the German-language theatre to perform it. In 'Le Nozze', Da Ponte expunged passages of revolutionary sentiment, lacking much detail of the original plot, its social and legal satire. However, he kept the action of the opera like that of the play, within one day 'folle journée' (insane day) of the play's subtitle.

  • soundfond, you're right. sorry, didn't get my facts straight! i liked the pseudo-modern treatment...

  • ares7768, no worries bud ;)) I'll also take the "classic production, light, comical and period costumes" any day! lol

  • I agree with soundfond. Completely.

    The actress who plays Cherubino by the way, is simply one of the most beautiful creatures I've ever seen playing on a stage.

  • bella voce

  • Not to comment on the singing aspect, this production grosses me out. Why read DaPonte's libretto with such gore in mind! Not only Figaro slashes poor Cherubino's arm but also picks up the blood and smears it on to the boy's face. What an atrocity. Le Nozze is a marvelous work that's supposed to be fun, far from being treated with this gratuitously violent pseudo-modern shock-value approach.

  • soundfond, i certainly see your point. While Mozart isn't treated with a cynical wash, I think this is a great production. Let's assess this opera though. At the time, the Emperor (and court) thought that Figaro, subject matter that stirred hate between classes was unsuitable for performance...and to adapt the story as a comedy was unheard of. Attitudes and preferences change. i prefer the "classic" production...light, comical, and period costumes!

  • So wonderful !!!. Thank you,Cheers, ~Sergio.

  • His beautiful singing is almost wasted in this production. I was so distracted by the staging (interesting, to be sure) that I could not focus on his excellent singing. Interesting he added a cadenza before the recapitulation, something I've never heard any other singer do. He and the conductor must have felt the need to do something purely musical at this point to remind folks that he's still singing. Amending the adage: "Never work with children, animals, or extremely fecund stage directors."

  • Oh, it's been done, surely. Not quite as long as this one, but the Glyndebourne production under Haitink has Finley do a short cadenza (though perhaps one might call that a lengthy ornament?).

  • WHOA the brunette guys is SEXY!

  • I think the approach is rather well found and original. I saw the whole opera this afternoon. I think it is rather impressive.

    The singing is extraordinary and Hanrnoncourt as conductor does a marvellous job. In a single clip it seems rather strange, but in the whole of the piece I think it works.

  • Beautiful interpretation in a strange almost Freudiana realization. Mozart and Da Ponte  wrote an "Opera Buffa" (funny work), it has to be light, ironic and humorous, this has an almost Gothic atmosphere. Bravo to the baritone, nevertheless.

  • We couldn't care less about the stage trappings of this scene from Le Nozze di Figaro-- we were too busy marvelling at this Figaro's singing voice! Incredibly rich, masculine and vibrant. This singer gave the Count's valet a fresh, new image for us and we loved it.

  • kind of strange this performance...

  • Mozart: the best of the best

  • No seriously, some people have to see a concelor, this is crap, clearly crap, great Figaro in a middle of a crap production.

  • Where's his "guardian angel"?? ;-)

  • You should change one of the tags. It is Ildebrando D'Arcangelo, not Ilderando. ;)

  • this was a little bit TOO dramatic no?

  • they just put the paint on the other side of the blade and rub it off onto the skin

  • how did they do the cut - blood actually came out?

  • the stage blood was in the "knife" and was pushed out by d'arcangelo.

  • poverina cherubino.....

  • Wow! This is really sick! And I bet these are the people who complain about Gitmo.

  • Mozart needs no "sitcom-slapstick" comedy(?), but talentless, incompetent stage directors do(!) with their "Regie-concepts", forcing singers to take part in the most idiotic and unreasonable scenes. "Artistic freedom"(Künstlerische Freiheit) they call it! RESPECT FOR THE FEW EXCEPTIONS!

  • Probably the conductor tried to help Figaro, but that was not the way to do it. The tempo MUST remain very strict, to maintain the military style of this aria. After doing 3 different productions of "Marriage" in the States, 2 in Switzerland and 1 in Germany (besides seeing COUNTLESS other productions of it), I must say that for me this was "the pits"! ...and with such fantastic singers too! CONT'D

  • Instead of the tounge-in-cheek mocking of the poor boy(for the count's sake), even Figaro seems to enjoy tormenting him, cutting him, letting him bleed (the cherub will probably stop the bleeding) while the count plays along with sadistical smile. PFUI! If a singer makes a musical mistake, like Figaro did, singing "schioppo in spalla", the "spalla" as 2 8th notes instead of 2 quarter notes, one can understand, but why the whole orchestra slows down? CONT'D

  • Yes, I have seen the whole prod. on TV and I was appalled by many things. (Fortunately I've erased the prod. from my memory). However stayed with me the Count's manhandling of the Countess, throwing her to the floor etc.(as I remember)which in my opinion would be VERY UNBECOMING of a count; or just take a look at this "verrrry funnny" stuffing Cherubino's mouth full of money (thank you "guardian angel cherub" that you hastened to take the dough out of his mouth!). WILL CONTINUE!

  • Great musical boo-boo, but what the heck! The voices were great, this boy is an impressive lyric baritone. The staging and the "Regie-Konzept" of the whole production S.U.C.K.S.

  • Really? Have you seen it live? Or on television or DVD? Or just the bits and pieces on YouTube?

  • Caro Amico,read my comments on the Salzburg

    "Non piú andrai" and perhaps you'll see why I

    reacted so strongly. Greetings!

    strongly. Greetings!

  • Lyric baritone? I'd say his voice has a little too much heft for that...he does quite a serviceable job as a bass.

  • CHILIARCHES, I assume you referring to my comment I've made about 9 months ago, calling this boy a lyric baritone. Well, a bass he is NOT! One could not call him a dramatic (or Verdi) baritone. The role of Figaro can be sung by light basses (although Siepi was certainly not a light bass, he was an exception), bass-baritones, lyric(Kavalier)baritones, or character-baritones. Anyway it is not a shame to be a lyric. Dr.Bartolo is usually cast with a heavier bass in this opera.

  • I think the term "bass-baritone," ambiguous as it sometimes is, fits him well. I wasn't saying he was a true bass, but he can do higher bass roles well enough--his Leporello, for example, is quite nice.

  • Listen to him sing "Dov'e la figlia" from Vivaldi's Bajazet. The video is on here. He sings several F#s and a solid high A (probably the best baritone A since Sherrill Milnes). But I love when he sings bass as well.

  • Milnes was practically a tenor, so I don't think I'd go that far. There are at least several baritones with much better tops, actually (Joseph Shore is the most obvious). But you're right--with all the weight and richness to his sound, it's great that he has a top like that. I can't wait to see his Don Giovanni here in August!

  • but yet i kind of like it

    the singing is awesome

  • this is bizarre

    i was laughing so hard when they put the money in cherubino's mouth

  • I love the involved blocking and acting. It adds a lot to the music.

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