I don't understand the negative comments. The production is completely credible, the direction of the characters is precise and well thought out, and the acting of all the singers is brilliant! Vocally and technically this is a fantastic ensemble! I neither find Brünnhilde too wobbly, nor Mr. Pape rude (that's really pure interpretation), but great as the mean Hunding. Wotan wasn't enough for me, but he was a great actor. And what a vocally great Siegmund, baritone-colored, with sensational Wälse calls and such round-sounding passages that I haven't heard since the young Hofmann. His Sieglinde was just as exciting and great! I am happy about every good Valkyrie and refuse to try to find every fly in the ointment. Everyone who puts their skin on the market makes themselves naked and vulnerable and gives everything for our enjoyment. Thanks for that!
@SelmaSeltsam Unfortunately there is a large group of supposed opera-lovers who like nothing better than repeating those cliched criticisms about every single production of opera, especially Wagner, that is not set in aspic as if we lived in the 19th century. I’d suggest they have limited imagination and are scared of any theatre and drama which is outside their very small comfort zone. There is even an organised group of these haters, which is linked to some European far-right political movements. How dull opera would become if every single production looked the same! But that’s what these people want. It’s sad they can’t open their minds to what theatre is really about, and instead prefer wax-work pageants viewed over and over like a child’s comfort blanket. I’m so tired of them, those comments turn up under every production - which of course renders the comments meaningless as they don’t actually engage with the substance of the staging, merely spew forth insults as if that makes them genuine critics rather than the ignorant bystanders they are. Luckily there are actually many people with inquiring, open minds who understand the purpose of theatre and welcome innovation.
Обожнюю Рікарду Мербет! Чудова співачка і актриса. Її голос досить специфічний - величезний, летючий, в ньому є сяйво, що не передається у запису, але воно відчутне у залі. Іноді він нерівний, але зачаровує вщент. Браво, Рікарда!
@@altaischurale7324 Just listen to AV on the Met telecast of "Mahagonny." Sad finale to a spectacular career. Are you going to delete this comment, also?
A más de uno acá en los comentarios se le olvida que parte del arte es la interpretación, que es una cosa absolutamente personal e idiosincrásica. Me encantó la adaptación de la ópera a un contexto moderno, realmente revela algunos aspectos anacrónicos de Wagner. Aunque estoy seguro de que algún hater promedio de Wagner no lo apreciará.
lo siento pero estoy harto de ver estos vestuarios en las operas de Wagner. Es antiestético. Cuando vemos una opera de la tetralogía queremos ver nibelungos y dioses, no hombres con corbata. Es una pena que una gran actuación quede ensombrecida por semejante exhibición de mal gusto
Stufo all'inverosimile di assistere a tali edizioni fantasiose delle Immortali Opere di Richard Wagner (e degli altri Sommi Compositori del passato più o meno recente)!
Estás completamente equivocado. Es de los mejores montajes, y, a mi gusto lo único que le cambiaría sería usar los uniformes de ya sabemos qué país, de ya sabemos qué periodo.
Why was Pape so upset and unpolite at his curtain call? I heard Ricarda Merbeth many times (Elsa, Elizabeth, Senta and some concerts), she had a nice light Wagnerian soprano voice. It seems that she has been pushing her instrument quite much lately.
I’ve seen him do the same gestures in New York……but only when he isn’t in a starring role. Hunding is probably the least of the major characters, and I think his gesture meant “Don’t waste your ovation on my rendition of Hunding!”
All-in-all, a good performance. In the Wagner operas, there is always one weak link, and here it is Brunnhilde. She is terrible. Every single word is shouted. But I enjoyed the other singers, and I’ve seen a few of them (Pieczonka, Skelton, Konieczny, Pape) onstage in the theater.
CAST !!??? Ricarda Merbeth as Brünnhilde had a good voice for high spinto roles but has an unbearable wobble nowadays. Adrienne Pieczonka as Sieglinde is ok and so is the Fricka. The Wotan sounds too small and the Siegmund sounds bad.
I don't understand the negative comments. The production is completely credible, the direction of the characters is precise and well thought out, and the acting of all the singers is brilliant! Vocally and technically this is a fantastic ensemble! I neither find Brünnhilde too wobbly, nor Mr. Pape rude (that's really pure interpretation), but great as the mean Hunding. Wotan wasn't enough for me, but he was a great actor. And what a vocally great Siegmund, baritone-colored, with sensational Wälse calls and such round-sounding passages that I haven't heard since the young Hofmann. His Sieglinde was just as exciting and great! I am happy about every good Valkyrie and refuse to try to find every fly in the ointment. Everyone who puts their skin on the market makes themselves naked and vulnerable and gives everything for our enjoyment. Thanks for that!
Selma, it's just an opinion someone wrote. Don't give it any further thought. If you ask 10 people about their opinions you will get 12 responses.
@SelmaSeltsam Unfortunately there is a large group of supposed opera-lovers who like nothing better than repeating those cliched criticisms about every single production of opera, especially Wagner, that is not set in aspic as if we lived in the 19th century. I’d suggest they have limited imagination and are scared of any theatre and drama which is outside their very small comfort zone. There is even an organised group of these haters, which is linked to some European far-right political movements. How dull opera would become if every single production looked the same! But that’s what these people want. It’s sad they can’t open their minds to what theatre is really about, and instead prefer wax-work pageants viewed over and over like a child’s comfort blanket. I’m so tired of them, those comments turn up under every production - which of course renders the comments meaningless as they don’t actually engage with the substance of the staging, merely spew forth insults as if that makes them genuine critics rather than the ignorant bystanders they are. Luckily there are actually many people with inquiring, open minds who understand the purpose of theatre and welcome innovation.
Обожнюю Рікарду Мербет! Чудова співачка і актриса. Її голос досить специфічний - величезний, летючий, в ньому є сяйво, що не передається у запису, але воно відчутне у залі. Іноді він нерівний, але зачаровує вщент. Браво, Рікарда!
Haven't heard such a spectacular wobble/tremolo since the last days of Astrid Varnay.
@@hrh4961 Varnay was a great singer - what nonsense.....
Merbeth - She is perfect for a provincial opera house like the Madrid Opera ....
@@altaischurale7324 Here's a video of a Met telecast of "Mahagonny" in which Varnay wobbles Bigbeck. Listen and weep.
@@altaischurale7324 Just listen to AV on the Met telecast of "Mahagonny." Sad finale to a spectacular career.
Are you going to delete this comment, also?
Yo estuve allí. Gracias por publicarla y hacerme revivir tan fantástica e inolvidable velada.
¡Fabuloso! Una genialidada
Muchas gracias por compartirnos esta joya. Magnífica interpretación. A la espera de que puedas compartirnos El oro del Rhin.
Me ha gustado mucho la puesta en escena, hubiera molao poner una roca y Brunilda en lo alto rodeá de fuego, pero me ha gustado mucho. Saludos
The staging, sets, and costumes are idiotic - the only good singer is Pape - the rest - perfect for the provincial Madrid Opera...
A más de uno acá en los comentarios se le olvida que parte del arte es la interpretación, que es una cosa absolutamente personal e idiosincrásica. Me encantó la adaptación de la ópera a un contexto moderno, realmente revela algunos aspectos anacrónicos de Wagner. Aunque estoy seguro de que algún hater promedio de Wagner no lo apreciará.
lo siento pero estoy harto de ver estos vestuarios en las operas de Wagner. Es antiestético. Cuando vemos una opera de la tetralogía queremos ver nibelungos y dioses, no hombres con corbata. Es una pena que una gran actuación quede ensombrecida por semejante exhibición de mal gusto
Very true!
Absolutamente de acuerdo.
Mas de acuerdo imposible
Stufo all'inverosimile di assistere a tali edizioni fantasiose delle Immortali Opere di Richard Wagner (e degli altri Sommi Compositori del passato più o meno recente)!
Estás completamente equivocado. Es de los mejores montajes, y, a mi gusto lo único que le cambiaría sería usar los uniformes de ya sabemos qué país, de ya sabemos qué periodo.
Las funciones de esta Valquiria tuvieron lugar en febrero de 2020, no de 2019.
Why was Pape so upset and unpolite at his curtain call?
I heard Ricarda Merbeth many times (Elsa, Elizabeth, Senta and some concerts), she had a nice light Wagnerian soprano voice. It seems that she has been pushing her instrument quite much lately.
Maybe Pape was as bad as always?
Did he get booed?
I’ve seen him do the same gestures in New York……but only when he isn’t in a starring role. Hunding is probably the least of the major characters, and I think his gesture meant “Don’t waste your ovation on my rendition of Hunding!”
@@wotan10950 I think it might be related to the smoke onstage.
But he is such a moody character
@@draganvidic2039 listen for yourself........
3:41:26 René Pape, rude to the Spanish public, with those little gestures of contempt... scoundrel!
Dont juse your Eyes, just your Ears, than its wonderfull!
2:33:35
All-in-all, a good performance. In the Wagner operas, there is always one weak link, and here it is Brunnhilde. She is terrible. Every single word is shouted. But I enjoyed the other singers, and I’ve seen a few of them (Pieczonka, Skelton, Konieczny, Pape) onstage in the theater.
sihuen aceptando el alterar el montage de la opera a un tiempo fuera de lo que el autor considera.
Los mitos son atemporales
Machine guns in the RING? What idiots!!
Ancient Norse gods singing with a large 19th century orchestra? What idiots!!
Die Brünnhilde singt noch nicht so Gut die Hojotohos.
CAST !!???
Ricarda Merbeth as Brünnhilde had a good voice for high spinto roles but has an unbearable wobble nowadays.
Adrienne Pieczonka as Sieglinde is ok and so is the Fricka.
The Wotan sounds too small and the Siegmund sounds bad.
mmmmm... mmmm. ¡no!
No me gustan estas versiones con con vestuarios de cualquier cosa , la opera no es sobre la segunda guerra...
Los mitos son atemporales.
A mi parecer, de las mejores producciones.
Agree,,.....
@@gerardosalas9477 I suggest you get new glasses....