BB is really developing into a remarkable performer. A pleasure to see. What a voice! ❤️ All the singing is good in this entertaining performance. Thank you, Lady I!
Production: Salzburg Festival 2024 Cast: Benjamin Bernheim (Hoffmann) Kathryn Lewek (Stella / Olympia / Antonia / Giulietta) Christian Van Horn (Lindorf / Coppélius / Dr Miracle / Dapertutto) Kate Lindsey (The Muse / Nicklausse) Marc Mauillon (Andrès / Cochenille / Frantz / Pitichinaccio) Géraldine Chauvet (The Voice of the Mother) Michael Laurenz (Spalanzani) Jérôme Varnier (Crespel / Master Luther Philippe-Nicolas Martin Hermann / Peter Schlémil) Paco Garcia (Nathanaël) Yevheniy Kapitula (Wilhelm) Creative Team: Marc Minkowski: Conductor Mariame Clément: Director Julia Hansen: Sets and Costumes Paule Constable: Lighting Étienne Guiol: Video Gail Skrela: Choreography Christian Arseni: Dramaturgy Ensembles: Concert Association of the Vienna State Opera Chorus Alan Woodbridge: Chorus Master Vienna Philharmonic New production based on the critical edit by Michael Kaye and Jean-Christophe Keck. Since people keep asking and apparently can't be bothered to look it up. Sorry to be snotty about it but some of you are being pretty rude about the poster not providing credits which is not something that they need to feel obligated to do.
I'm absolutely excited by this version. Thoughtful production and fantastic work with the actors. And he really listens to the music which is a rarity today. No one point of logic gap in the production. I'm not a fan of BB but here he sounds fantastic lacking his convenient mannerisms. This Va pour Kleinzack is a real hymn of this Festspiele edition. American girls are gems but for me Giulietta was too much for Lewek. Glorious Van Horn. No wonder under the button of Minkovski All in all l like it both vocally and theatrically. It should be done like that.
So viel original Offenbach habe ich noch nie gehört! ...sehr interessant und hoffentlich setzt sich diese musikalische Version durch! (Musikalisch hervorragend umgesetzt - die Regie ist sehr fantasiereich, wenngleich teilweise schwer verständlich...???)
Yes....innovative stagings can go way off the rails....that seems the case in this version. Not sure how I feel about it....mostly a bit much, I'd say.
Question, but not related to Hoffmann --- you have such an extensive treasury of performances. I have a long clip of the Tristan Liebesnacht (Rattle, Berlin 2016, with Skelton and Westbroek. It is heavenly, in concert format. Do you have a link to the full performance?
Худшая постановка оперы Оффенбаха, что удалось увидеть на своём веку.((( Я пытался всю постановку зацепиться за что-то положительное, - не получилось.( Но я обожаю "Сказки Гофмана" Ж. Оффенбаха!)
Wonderfully sung, wonderfully played, but what a revolting production. It’s a massive slap in the face to the incredible efforts of Jean-Christophe Keck and Michael Kaye, whose edition of Offenbach’s intended version is nothing short of miraculous.
I kinda agree; it's one of those productions where the staging is so surreal, it's lost all connection to the text itself; this kind of thing happens when the director looks at the work and sees something completely different in it. But to me, every production where they choose to stage the Kaye-Keck edition (rather than the obvious choice of staging the Choudens or Oeser versions) is a massive theatrical achievement.
Caricatural, irrespectueux, horrible. On ne sait ce qui est le pire, mais Olympia est particulièrement représentative de cette chienlit. Les chanteurs qui participent et le public qui approuve ont leur part de responsabilité. RIP Offenbach, ton seul opéra livré aux proxénètes de la musique
that's in the Choudens/Oeser versions, this is the Kaye-Keck edit. So like the ROH and Met ones have scintille diamant and this version has the one here
@@Yves_Ka But why shouldn't people be able to see all the relevant credits before they decide to listen? At least put a link to the credits in the description.
@@sschimel there is an obvious reason why you dont see the credits - look at the logo at the top left hand corner and you should be able to work that out yourself.
La trivialización y puesta en ridículo de la ópera.Y los cantantes se ven obligados a actuar y cantar en estas pantomimas asquerosas para no quedarse sin trabajo.Pobre E.T.A.Hoffmann!!
No - opera will only die if closed-minded, imperceptive, pearl-clutching comments like yours prevail. Why is it that so many who seem to love opera struggle with imaginative, intelligent stagings?
Che squallore....ma la smettono di far sfasciare i capolavori a questi registi che non hanno neanche letto il libretto, visto che le scene e i gesti non corrispondono alle parole dei personaggi e ne stravolgono tutto il senso? Tutto in questa produzione è eccessiva, volgare, i sentimenti sono tutti falsati e svuotati. Certo non invidio chi ha pagato un biglietto a prezzi stratosferici (come sono quelli di Salisburgo)per vedere certe dissacrazioni di dubbio gusto e senso! Comunque se fossi stata il soprano che interpreta Olympia mi sarei rifiutata di fare certe scene triviali.
BB is really developing into a remarkable performer. A pleasure to see. What a voice! ❤️ All the singing is good in this entertaining performance. Thank you, Lady I!
He breaks my heart in this one! 🥹🥹
A most absorbing production. Thank you very much.
Production: Salzburg Festival 2024
Cast:
Benjamin Bernheim (Hoffmann)
Kathryn Lewek (Stella / Olympia / Antonia / Giulietta)
Christian Van Horn (Lindorf / Coppélius / Dr Miracle / Dapertutto)
Kate Lindsey (The Muse / Nicklausse)
Marc Mauillon (Andrès / Cochenille / Frantz / Pitichinaccio)
Géraldine Chauvet (The Voice of the Mother)
Michael Laurenz (Spalanzani)
Jérôme Varnier (Crespel / Master Luther
Philippe-Nicolas Martin Hermann / Peter Schlémil)
Paco Garcia (Nathanaël)
Yevheniy Kapitula (Wilhelm)
Creative Team:
Marc Minkowski: Conductor
Mariame Clément: Director
Julia Hansen: Sets and Costumes
Paule Constable: Lighting
Étienne Guiol: Video
Gail Skrela: Choreography
Christian Arseni: Dramaturgy
Ensembles:
Concert Association of the Vienna State Opera Chorus
Alan Woodbridge: Chorus Master
Vienna Philharmonic
New production based on the critical edit by Michael Kaye and Jean-Christophe Keck.
Since people keep asking and apparently can't be bothered to look it up.
Sorry to be snotty about it but some of you are being pretty rude about the poster not providing credits which is not something that they need to feel obligated to do.
Thank you to share this beautiful version !!
I'm absolutely excited by this version. Thoughtful production and fantastic work with the actors. And he really listens to the music which is a rarity today. No one point of logic gap in the production. I'm not a fan of BB but here he sounds fantastic lacking his convenient mannerisms. This Va pour Kleinzack is a real hymn of this Festspiele edition. American girls are gems but for me Giulietta was too much for Lewek. Glorious Van Horn. No wonder under the button of Minkovski
All in all l like it both vocally and theatrically. It should be done like that.
I just Hoffmann with Bernheim and van Horn yesterday at the Met. Superb performance.
So great to hear the Giulietta act this way. It’s the best version. And the singing is great.
Word! How come my most favorite version of Dappertutto's aria is the one which is almost never performed? 😭
@@INOBT100especially when the most famous and most commonly used one isn’t even by Offenbach.
Opera quiz: What kind of beer do they drink in Luther's Tavern ? (Olympia beer.)
i don't know what y'all are talking about. this is great. I loved it.
So viel original Offenbach habe ich noch nie gehört! ...sehr interessant und hoffentlich setzt sich diese musikalische Version durch! (Musikalisch hervorragend umgesetzt - die Regie ist sehr fantasiereich, wenngleich teilweise schwer verständlich...???)
Yes....innovative stagings can go way off the rails....that seems the case in this version. Not sure how I feel about it....mostly a bit much, I'd say.
Merci! J'adore Bernheim!
La mise en scène ... 😫😫😫😫Il faut mieux l'écouter à la radio !
Merçi beaucoup, Madame!
It would be so nice to have a cast list provided.
Les proxénètes de la mise en scène frappent fort .
Bien dit: proxénètes.
Rien à voir avec l'Art.
Honte aux artistes célèbres se prêtant à cette prostitution.
On dirait que ma réponse a votre commentaire a disparu.
Je serai succinte: proxénète? Exact.
Volgare, vergognoso.
😂😂👍👍👍
Spectacle pour aveugle uniquement
In this part, Bernheim is really OK !!!!!!!!!! Better than Romeo and others... 💗
Question, but not related to Hoffmann --- you have such an extensive treasury of performances. I have a long clip of the Tristan Liebesnacht (Rattle, Berlin 2016, with Skelton and Westbroek. It is heavenly, in concert format. Do you have a link to the full performance?
02:04:33 The Barcarolle - is that the alternative, one harp version?
De donde es el registro quien canta, etc
Which year and what opera company was this ?
Худшая постановка оперы Оффенбаха, что удалось увидеть на своём веку.(((
Я пытался всю постановку зацепиться за что-то положительное, - не получилось.(
Но я обожаю "Сказки Гофмана" Ж. Оффенбаха!)
The cast please
Olympia...is a doll...yes?
Wonderfully sung, wonderfully played, but what a revolting production. It’s a massive slap in the face to the incredible efforts of Jean-Christophe Keck and Michael Kaye, whose edition of Offenbach’s intended version is nothing short of miraculous.
@@joshuahaines9090 How so? I read their book. I don't understand your sentiment.
I kinda agree; it's one of those productions where the staging is so surreal, it's lost all connection to the text itself; this kind of thing happens when the director looks at the work and sees something completely different in it. But to me, every production where they choose to stage the Kaye-Keck edition (rather than the obvious choice of staging the Choudens or Oeser versions) is a massive theatrical achievement.
Caricatural, irrespectueux, horrible. On ne sait ce qui est le pire, mais Olympia est particulièrement représentative de cette chienlit. Les chanteurs qui participent et le public qui approuve ont leur part de responsabilité.
RIP Offenbach, ton seul opéra livré aux proxénètes de la musique
1:03:16
Гнуснее не может быть... Бедный Оффенбах. Почему певцы должны участвовать в этом балагане?! Какое неуважение к композитору, певцам, публике....
where is scintille diamant???
that's in the Choudens/Oeser versions, this is the Kaye-Keck edit. So like the ROH and Met ones have scintille diamant and this version has the one here
Who's singing? What opera house? Who directed/designed it? No credits?
2:59:20 all the relevant credits
@@Yves_Ka But why shouldn't people be able to see all the relevant credits before they decide to listen? At least put a link to the credits in the description.
@@sschimel there is an obvious reason why you dont see the credits - look at the logo at the top left hand corner and you should be able to work that out yourself.
@@Yves_Ka What does that hahve to do with including the time stamp for the credits in the description?
Because if ARTE find this video, this channel will be deleted... that's why there are nowhere the credits.
La trivialización y puesta en ridículo de la ópera.Y los cantantes se ven obligados a actuar y cantar en estas pantomimas asquerosas para no quedarse sin trabajo.Pobre E.T.A.Hoffmann!!
Horrible staging. Terrible, vulgar mess on that stage. The designers,directors have no respect for the composer.
Absolument horrible
D'une rare vulgarité
L'opéra est MORT avec ces fossoyeurs
No - opera will only die if closed-minded, imperceptive, pearl-clutching comments like yours prevail. Why is it that so many who seem to love opera struggle with imaginative, intelligent stagings?
Totalmente de acuerdo, una puesta en escena que no se entiende.
Messa in scena scandalosa! Peccato per quest'opera bellissima
Who are the singers, the conductor, the frikking theater and orchestra? I'll pass.
Che squallore....ma la smettono di far sfasciare i capolavori a questi registi che non hanno neanche letto il libretto, visto che le scene e i gesti non corrispondono alle parole dei personaggi e ne stravolgono tutto il senso? Tutto in questa produzione è eccessiva, volgare, i sentimenti sono tutti falsati e svuotati. Certo non invidio chi ha pagato un biglietto a prezzi stratosferici (come sono quelli di Salisburgo)per vedere certe dissacrazioni di dubbio gusto e senso! Comunque se fossi stata il soprano che interpreta Olympia mi sarei rifiutata di fare certe scene triviali.