Der Rosenkavalier - Jurinac, Rothenberger, Schwarzkopf, Karajan
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- Опубліковано 14 лис 2012
- There are several clips of this production on UA-cam, but here is the whole opera.
Marchallin - Elisabeth Schwarzkopf
Octavian - Sena Jurinac
Sophie - Anneliese Rothenberger
Baron Ochs - Otto Edelmann
Conductor - Herbert von Karajan
Wiener Philharmoniker
Diese Opernaufführung dürfte kaum jemals zu toppen sein. Hier stimmt alles: Bühnenbild, Kostüme, Sängerensemble und Dirigat des (frühen) Karajan - ein Fest für Auge und Ohr!
Der schönste Rosenkavalier den es überhaupt gibt!
Though the whole cast is wonderful, and ideally cast, glorious Sena Jurinac is simply unsurpassed by any other Oktavian on video
Selten hat mich eine Oper so berührt wie der Rosenkavalier. Als langjähriger Wagnerliebhaber hat mich diese Strauss Oper in ihren unwiderstehlichen Bann geschlagen.
Wo war ich schon und war so selig.
Wundervoll!
It was filmed in 1962, I haven't seen or heard nothing more beautiful than this. Perfection in all!
to jest przepiękne wykonanie z moimi ulubionymi wykonawcami Seną i Anneliese🙂
Sehr schöne, klassische, werktreue Inszenierung, noch nicht vom Regietheater verhunzt. Darüberhinaus wunderbare Stimmen, großartiges Orchester.
This is one of the reasons I fell in love with Rothenberger as a young man. I saw her live in Entfuhrung in Salzberg and saw the film on the same trip. She was a superb soprano and had some simply magical notes in some operas including one at the beginning of Act 2 in Rosenkavalier.h
Absolutely wonderful. Acting, singing, playing of the highest class, and Schwarzkopf is just perfect. The singing has always sounded splendid on cd but seeing her adds a total new dimension. The cast is perfectly at ease with each other, and a warm production with no tricks brings out all the humour, sadness and poignancy of the piece. I had the honour to work with Schwarzkopf in 1980 Masterclass (see my posting) and will cover Ochs at the Met this year, so this is a very welcome post. Thank you
I haven´t found this " treasure " untill right now, what a production this had been, hardly to equal nowadays , Thank you so much for having made it avaiable to us.
The third act was total perfection! Brilliantly staged, without the sometimes over-crowded and confusing mixing to the cast. And, of course, Elizabeth, who shows the hurt, but with unparalleled dignity and grace. The Rosenkavalier to have and to keep forever!! God bless you for posting this wondrous moment in history.
Eine wohl unerreichte Einspielung dieser herrlichen Oper, jede Rolle wunderbar besetzt! Anneliese Rothenberger hat hier (und nicht nur hier) ihr großes schauspielerisches Talent bewiesen, wie sie das junge Mädchen mit einer bezaubernden Leichtigkeit und Unbefangenheit darstellt und dazu sowohl sängerisch als auch musikalisch eine einzigartige Leistung zeigt. Bis zu den schier überirdisch schönen Spitzentönen makellos und dazu textverständlich - ein Genuß!!
Never before and never again. Be thankful that you can still experience this miracle of a performance. It belongs to another world.
I've found my heart melted with this performance! Absolutely gorgeous approach to this masterpiece! Schwarzkopf was and is truly the very supreme Marschallin and Anneliese's interpretation gave no doubts on why Octavian fell in love with such a sweet lady... But of all these characters, the fiery Octavian, brought to life by Sena Jurinac, has been the best choice that Karajan could have made!! I've researched the role and even worked on it for quite while now, and this magnificent artist has SET THE STANDARD. Brava Sena! Du warst wundebar! "Dich hab ich lieb!"
Thank you so much. I had a vhs tape but wore it out years ago. Have the CD box set but not with me now. A joy to see and hear again.
wunderbar. Da war ich selbst noch dabei!!! Das waren halt noch wunderschöne Inszenierungen. Bühnenbild Schneider Siemssen, Karajan am Pult und all die großartigen Bühnenbilder. Nicht so scheußliche Inszenierungen die wir heute erleben müssen!
Ganz genau. Bin absolut gleicher Meinung. Solche Aufführungen können wir heutzutage nur davon träumen...
Das Bühnenbild zu dieser Aufführung stammt nicht von Schneider-Siemssen, sondern von Theo Otto.
I had this on a VHS tape years ago. Thanks for putting it here. Excellent sound and visual quality. Schwarzkopf the best Marchallin ever.
wonderful performance this ROSENKAVALIER with the Schwarkopf Marchallin, one of the Best Ever. One of greatest KARAJAN recording
when you compare this with other performances you see this is SUPER BRILLIANT.
How could there be a better performance than this? Thanks very much.
There couldn't be a better perormance, and there never will be.
Carlos kleiber’s is My favourite but this is also Nice!
Unforgetabel Sena !!!
Elisabeth Schwarzkopf, soprano (Die Feldmarschallin, Princess Marie Thérèse von Werdenberg)
Sena Jurinac, mezzo soprano (Octavian, her young lover)
Otto Edelmann, bass (Baron Ochs auf Lerchenau, the Marschallin's cousin)
Erich Kunz, baritone (Faninal, Sophie's rich parvenu father)
Anneliese Rothenberger, soprano (Sophie von Faninal)
Judith Hellwig, mezzo soprano (Marianne Leitmetzerin, the Marschalin's duenna)
Renato Ercolani, tenor (Valzacchi, an intriguer)
Hilde Rössl-Majdan, mezzo soprano (Annina, his niece and partner)
Alois Pernerstorfer, bass (A Police Inspector)
Erich Majkut, tenor (The Marschallin's Mafor-Domo)
Siegfried Rudolf Frese, tenor (Faninal's Major-Domo)
Josef Knap, bass (A Notary)
Fritz Sperlbauer, tenor (An Innkeeper)
Giuseppe Zampieri, (Italian Tenor)
Time: 1740s, in the first years of the reign of Empress Maria Theresa
Place: Vienna
Act 1
The opera's 'Einleitung' (Introduction) depicts a night of lovemaking between Princess Marie Therese von Werdenberg (known as the Marschallin, the title given to a Field Marshal's wife) and her much younger lover, Count Octavian Rofrano. The curtain rises to show them lounging in bed together just before daybreak ("Wie du warst! Wie du bist"). Loud voices are soon heard outside, and the Marschallin has Octavian hide, believing that her husband has returned early from a hunting trip. Octavian emerges in a skirt and bonnet ("Befehl'n fürstli' Gnad'n, i bin halt noch nit recht...") and tries to sneak away, but the Marschallin's country cousin, Baron Ochs auf Lerchenau, bursts in through the same door.
The Baron is newly engaged to Sophie Faninal ("Selbstverständlich empfängt mich Ihro Gnaden"), the daughter of a wealthy merchant, though this does not keep him from making lewd comments at the disguised Octavian. Ochs has come to ask two favors: he wants to borrow his cousin's notary to write the marriage contract, and he wants her recommendation of a young nobleman to serve as his Rosenkavalier ("Knight of the Rose"), who will deliver the traditional silver engagement rose to Sophie. The Marschallin instructs "Mariandel" to fetch Octavian's miniature portrait and present it to the Baron. Ochs easily accepts Octavian as his Rosenkavalier, deciding that the "maid" must be that young count's "bastard sister", then insists that the Marschallin allow "Mariandel" to come and work for his new bride. She refuses as politely as possible and finally dismisses the "maid". A busy reception scene ensues as the room fills with vendors and supplicants to the Marschallin ("Drei arme adelige Waisen"), who ignores the former and aids the latter. A tenor sent by the Portuguese ambassador serenades her ("Di rigori armato") while Ochs sits down with the notary. Two Italian intriguers, Valzacchi and Annina, present scandal sheets for sale, which the Marschallin coldly declines. Ochs tries to stipulate a gift from Sophie's family consisting of all their properties, free from mortgages, and quickly loses patience with the notary's attempts to explain that this is illegal. Amidst all the activity, the Marschallin remarks to her hairdresser: "My dear Hippolyte, today you have made me look like an old woman." ("Mein lieber Hippolyte"). This so disturbs her that she orders the room to be emptied. As the people file out, Valzacchi and Annina offer Baron Ochs their spying services. He asks whether they know anything about "Mariandel"; they promptly lie and claim to know all about her. The Marschallin, now alone, ponders her waning youth and the unhappiness of her forced marriage, perceiving the same in store for Sophie Faninal ("Da geht er hin..."). Octavian returns, dressed again in men's clothes ("Ach, du bist wieder da"). When he sees that the Marschallin is out of sorts, he assumes it is from her earlier fear that he might have been discovered. But she is still thinking of the passage of time (a clock is heard chiming thirteen times) and tells him that, very soon, he will leave her for someone younger and prettier. Octavian reacts with frustration, and the Marschallin turns him away. Too late, she realizes that she has neglected to kiss him goodbye. With nothing else to be done, she summons her young page, Mohammed, to take the silver rose to Octavian, then stares pensively into her hand mirror (or similar) as the curtain falls.
Act 2
The von Faninals' palace
The next day, Herr von Faninal exultantly and Sophie nervously await the arrival of the Rosenkavalier ("Ein ernster Tag, ein grosser Tag!"). Following tradition, Faninal departs before the Knight appears, saying that he will return with the bridegroom. Sophie prays to keep her sense of humility through all the rapid changes happening in her life, but she is repeatedly interrupted by her duenna, Marianne, who reports from the window on the Rosenkavalier's elaborate entourage ("In dieser feierlichen Stunde der Prüfung"). Octavian arrives with great pomp, dressed all in silver, and presents the silver rose to Sophie ("Mir ist die Ehre widerfahren..."). She smells it, saying it is as sweet as a greeting from Heaven itself. Octavian, instantly smitten, joins her avowal that they will remember this moment until death. They settle into a chaperoned conversation. Sophie reveals that she already knows Octavian's full name - Octavian Maria Ehrenreich Bonaventura Fernand Hyacinth Rofrano - from studying the catalogue of Austrian nobility to prepare for her marriage. She even knows his nickname: Quinquin, which only intimate friends (including the Marschallin) call him. She adds that she likes him very much. Ochs then enters with Faninal ("Jetzt aber kommt mein Herr Zukünftiger") and wastes no time revealing his character to the bride, loudly examining Sophie's body and comparing her to "an unbroken filly" when she protests. Once he leaves the room with Faninal to finalize the marriage contract, Sophie and Octavian quickly agree that she will not marry the Baron under any circumstances. The young lovers' rapturous duet ("Mit Ihren Augen voll Tränen") is soon interrupted by Valzacchi and Annina, who surprise them and call for Ochs. Octavian challenges the Baron to a duel. Ochs runs forward, scratches his arm on the point of Octavian's drawn sword, and screams so that Faninal and the rest of the household come rushing in. Sophie begs her father to call off the wedding, to no avail: Octavian is asked to leave, and Sophie is sent to her room. Ochs is left on the divan, his arm in a sling, nursing a bottle of port and fantasies of revenge against Octavian. But Annina brings him something that raises his spirits much more quickly: a letter signed by "Mariandel," the "chambermaid" from Act 1, asking for a tryst. At this, Ochs forgets his sling and waltzes across the stage, ignoring Annina's hints for a tip - and missing her quiet promise to get even ("Da lieg' ich!").
Act 3
A private room in a shabby inn
Valzacchi and Annina, fed up with the Baron, help Octavian prepare a trap the following evening. Elaborate preparations are seen in pantomime before Ochs arrives with "Mariandel," ready for a cozy dinner at a table set for two. In spite of himself, Ochs is disturbed by "Mariandel's" uncanny resemblance to his nemesis Octavian, and he keeps catching glimpses of strange apparitions in the room. A disguised Annina bursts in, calling Ochs her husband and the father of her (numerous) children, who crowd around him crying "Papa! Papa!" The Baron calls for the police; to his unpleasant surprise, the vice squad treats him with suspicion, and Valzacchi is suddenly claiming not to know him. The police inspector asks about the "woman" accompanying him, and Ochs lies that "she" is his fiancée, Sophie Faninal - just in time for Herr von Faninal to arrive, demanding to know why Ochs' messenger (presumably Valzacchi) has summoned him to this disreputable place. When asked if "Mariandel" is his daughter, Faninal retorts in a rage that his daughter is outside. The real Sophie enters and announces once and for all that she does not consider Baron Ochs her bridegroom. Her apoplectic father staggers out, leaning on her shoulder. "Mariandel" now offers to make a statement in private, and retires behind a screen with the Police Inspector. Soon Ochs sees articles of women's clothing coming into view. He rages against the vice squad, but is interrupted by the arrival of the Marschallin. The Police Inspector greets her before clearing the room, and she explains to the Baron that he has been had. Sophie returns, and Octavian emerges, to confirm that they set up a "masquerade" together to break his engagement. Ochs, glancing back and forth between Octavian and the Marschallin, now grasps the nature of their relationship and asks for hush money. But he is cowed by the Marschallin's force of will (if not the sight of Octavian's sword) and ingloriously departs, pursued by children and bill collectors. The Marschallin, Sophie, and Octavian are left alone, and Octavian does not know what to do. The Marschallin introduces herself to Sophie, recognizing that the day she feared has come (Trio: "Marie Theres'!" / "Hab' mir's gelobt"), and releases Octavian to be with the woman he truly loves. She then withdraws, with a promise to Sophie that she will offer Faninal a face-saving ride home in her carriage. As soon as she is gone, Sophie and Octavian run to each other's arms. Faninal and the Marschallin return to find them locked in an embrace. With a last, bittersweet look toward her lost lover, the Marschallin heads for the carriage with Faninal. Sophie and Octavian follow after another brief but ecstatic love duet ("Ist ein Traum" / "Spür' nur dich"). The opera ends with little Mohammed trotting in to retrieve Sophie's dropped handkerchief, then racing out again after the others.
Sena Jurinac is a also a true Soprano who later sang the Marschallin. Lotte Lehmann, the definitive Marschallin, who herself had sung all three roles and who worked with Strauss. said that he wrote for three sopranos because he loved hearing three sopranos singing together. So you usually find sensitive, natural mezzo sopranos lighten their sound and avoid emphasising their lower, richer quality.
Vielen Dank für das Video! Endlich die ganze Oper die ich in Salzburg bei der Eröffnung des großen Festspielhauses gesehen hatte. Fast alle Mitwirkenden sind heute schon tot!
One of the best aspects of this film is Schwarzkopf's beauty in her 45th year. The Marschallin is sad about losing her beauty, not just her youth, and that works in a film only when you actually have a beautiful woman. Aging is much kinder to the plain!
Karajan (together with Kleiber) give us the best Rosenkavalier I have heard; (difficult for me to decide who can get the gold medail). What makes the difference in this edition is the vocal cast which, unfortunately, is part of a lost golden age. No one, today, can be compared with the wonderful voices of Schwarzkopf, Jurinac, Rothenberger etc, and the magistral interpretation of their roles. It's sad, but it's the reality. Like the Marschallin says, "jedes Ding hat seine Zeit"
Schwarzkopf is out of this world. The whole last scene of the first act (about 47:00-1:11:00) is full of so many absolutely perfectly sculpted phrases. 56:20, 57:40, 59:52, 1:03:45, I could literally keep going on. Even just little words that she says just the right way. Holy hell
I badly needed to see the last scene of the first act. Thank you for the time stamp.
Schwarzkopf's finest achievement in a brilliant and witty production. The gold standard.
It really doesn't get much better than this.
Für mich den schönsten Rosenkavalier! Sublime! Divino.
Quite simply the Holy Grail of Rosenkavalier performances! Schwarzkopf is the definitive Marschallin, sheer perfection, meiner Meinung nach!
Musically that's definitley NOT the holy grail! Kleiber, both Erich and Carlos, are much better then Karajan!
@@johannschneider6372 Not really.
@@franziskakre8309 Aha, why?
@@johannschneider6372 Aha, why?
@@johannschneider6372 Ja, warum sehen Sie Karajans Inszenierung des Kavaliers negativ?
questo meraviglioso capolavoro segna l'inizio del tramonto dell'opera in musica, che pochi anni più tardi vedrà l'ultimo grande successo della Turandot e poi solo musica cerebrale e senza seguito; quella civiltà finisce col nascere del cinema sonoro. Questo capolavoro è così perfetto, così intimamente commosso! e qui che cantanti, che attori, che orchestra! veramente sembra impossibile poter andare oltre
non si dimentichi del Wozzeck
這齣是理查‧史特勞斯最受歡迎的歌劇，劇中有很多圓舞曲的旋律。第二幕女高音蘇菲(Sophie)和由次女高音打扮成男裝的玫瑰騎士，在呈獻銀質玫瑰的場合，唱出『很難想像是地上之物的天上玫瑰』，是一首曲調非常優美的二重唱。第二幕落幕前，管弦樂所演奏的『玫瑰騎士圓舞曲』，經常是音樂會的曲目之一，並改編成數種不同樂器的獨奏曲。第三幕由蘇菲、玫瑰騎士的奧克塔文(Octavian)以及女高音伯爵夫人所唱的『我決心以純正的方式愛她』是一首著名的三重唱。
Zauberhafter Klang! Grandios! Exzellent!
My god, the second act is such total perfection that there can never be an equal! Edelman is complete and total owner and dominates the stage with such mastery that anyone else should tremble in his boots before attempting this role! And Faninal! A "bit part," HA! He is a master, I could have split my sides laughing with his perfection! Annina is played to the hilt -- in fact, to surpass this second act, and most especially the clever, wicked and lecherous Ochs - is d*** impossible! I was taken aback by Von Karajan's rapid tempi in Act I; but here, he has reached an apogee of perfect pacing. I know I will expire completely after the 3rd act, which I must regain consciousness before watching! I must also mention the costumes, which are so close to the original sketches, and so brilliantly executed, that the eye is drawn automatically into the character wearing them. This costs $18.00 on Amazon, but I would pay double that just to have in my possession this historical monument to genius on absolutely every front.
I love what you wrote about Faninal! That is the great Erich Kunz. I am honored to have the same name -- I've always loved his debonair voice and his humor. He used to co-star with Schwarzkopf in "The Merry Widow" and I think here you can sense a kind of intimacy between them. BTW I love Schwarzkopf's "Ja, ja." A touch of sarcasm, or something ... she definitely put her own spin on it.
Der schöste Rosenkavalier den wir hier in der Wiener Staatsoper gehabt hatten!
One of the greatest of operas. This role was Schwarzkopf's best. and thank you for this excellent performance. Wow!
For the time this was done it's an historic recording. Wish more opera of the era were filmed as beautifully. This has been available on BluRay too. I must add that this film was shot in wide screen and was or may still be available on UA-cam. This is the pan and scan version and doesn't do the original justice.
Thank you Janja, I love this opera very much and absolutely gorgeous casts, too.
Definitely my favorite Octavian!
Good evening and sweet dreams :-)
I like classic staging opera like this one..thanks for sharing..
Von Karajan...quanto manchi a questo mondo.
This is an incredible, amazing performance, never matched in my view, not even by Karajan himself. One of the classics of the gramophone, But the orchestra most certainly is not the Salzburg Mozarteum Orchestra; it is the great, glorious Vienna Philharmonic, who play this music like no one else.
The Mozarteum Orchestra is credited because of their playing of the backstage music in Act III. The Vienna Philharmonic is properly credited on von Karajan's title card.
Thank you, Roberta.
Mon mari , Robert Malané , était complètement sous le charme de la voix d'ANNELIESE ROTHENBERGER.
Je dois avouer qu'elle était sublime.
Une production tout simplement inégalée, la perfection absolue
My God, what an amazing opera... I'm in awe!
Masterful direction and staging, the acting so detailed with gestures and movement timed to match the cues and motifs in the music. Modern opera directors should be required to study this and learn to match stage action to the text and music. This is the antidote for the current trend of Regieopera; a model for how to stage the composer's and librettist's work and then get out of their way and let the performers do it. The last 20 minutes, from the Baron's exit to the final curtain, is flawless: the awkwardness, embarrassment, anger, humiliation, the tension, and its resolution are worked out to perfection. And the director was not afraid to leave us with an empty stage for a moment before Mohammed's last appearance. If only more directors would pay such attention and listen to the music...
So very wonderful..... (thank you, Janja!)
Elizabeth Scharzkopf a beautuful Voice . The cast îs very good . Under Herbert von Karajan the performance îs great .
Огромное Спасибо за ваш труд..
BEAUTIFUL and GLORIOUS!
伟大的演绎！理查-施特劳斯、冯-卡拉扬、伊丽莎白-斯瓦茨科普夫......百看不厌
Rothenberger and Edelmann wow!
In the part beginning from 2:55:56 and onwards Strauss will captivate you for the rest of your life
I would even say from 2:50:00 and onwards - "Ich begreif' nicht, was Sie hat..." - "Ha! Er ist ein rechtes Mannesbild!: Geh Er hin and mach' seinen Hof." From there to the end, perfect.
Thank you so much!
Invalluable upload!
Thank you, Doug.
Cette chatoyante interprétation reste une référence. Quelle voix unique et stupéfiante possédait Mme. Schwarzkopf ; la Maréchale est vraiment *son* rôle phare. Musicienne "absolue".. et comédienne de talent !
Thank you.
Sena Jurinac war eine begnadete Sängerin. Der beste Rosenkavalier!
This was my first opera ever my parents took me too. Been hooked ever since.
Sena Jurinac & Anneliese Rothenberger *Die Schöönen Sängerinen*
세나 유리나츠 & 안넬리제 로텐베르거 아름다운 여자가수들!!실력파*
Sena Juranic was wonderful.....
Merci cher Janja ! une super production : je garde .... :-)
Amitiés.
belíssima,principalmente o 2. ato, dueto da entrega da rosa.
Very wonderful !!
This is the classic last scene, in terms of all the values: voice, music, production.
I feel like I've been in a time machine. No other performance, no matter how good, is as well-produced and -directed as this one. Czinner gives us a clear window into how this was meant to be produced. It must have been weird to do this all after the war with these people reassembled as though nothing had happened. A cultural artifact of incomparable value.
Thanks a bunch
indeed perfection.....Schwarzkopf still radiant in voice in a role she was born to sing...and Karajan....well... in pre ULTRA perfection stage of his career does not try to perfect what is already perfect ;)
I've now watched it all. Sheer perfection! The acting is so understated even in the big moments. This should be shown to all crazy directors who want to impose their ideas on a great work. Mind you, it needs great actors and singers to make it work! Just one thing - the wonderful Ochs is Otto Edelmann not Kurt Edelmann. It's a majestic performance because, despite his grotesque behaviour, we warm to him and like him. Superb acting and singing!
Thank you a lot, Satoko. I agree about Octavian.
Thank you for watching, Julien.
Magnífico en todos los aspectos. Obra maestra.
Thank you so much! you made my new year!!!
Act 1 - 1:47 Music - 4:37
Act 2 - 1:12:26 Music - 1:13:42
Act 3 - 2:07:45 Music - 2:09:38
Yes, I agree. :)
I am very glad that you like it.
You're very welcome, Ingrid.
Perfect!
Herrlich! Danke!
a millenium great masterpeace!
Que producciones tan suntuosas las del pasado. Ver hoy que con la misma silla hacen los dos y tres actos.
Perfection.
well, no Problem, if you don´t speak gerrman. i recommand you a wonderful course at Goethe Institut. you will learn the german language, but more important, german and european culture ....
diese Aufnahme der Salzburger Festspiele ist wohl eine der besten, die es gibt. Ich hätte viel dafür gegeben, A. Rothenberger und E. Schwarzkopf hier zu sehen. Leider bin ich zu jung dafür, aber ich werde den beiden ein sehr ehrendes Andenken bewahren.
You are an idiot. That's why opera is so unpopular, because of attitude like this. So fuck you and your barbaric language.
It's apparent who the idiot and barbarian is.
Shame on you for disturbing this comment section to this magnificent performance by your appalling display of malevolence.
Be better!
Thanks
Excelente las interpretaciones sobre todo de la Schwarzkopf. ¡Una puesta en escena soberbia.! Y qué decir de la dirección musical de H. V. Karajan. Para la historia.
Very much Elegant !
Wunderbar!
SUBLIME !
You're very welcome.
Outstanding! Viele Grüße Bernd.
39:20 My favorite rendition of "Di rigori armato il seno" of all times by Giuseppe Zampieri!! This tenor is brilliant.
he was very good. that cameo is such a gem; there is only one i liked better
1:18:55 Presentation of the Silver Rose
kills me every time
Merci à toi, mon amie.
YOU ARE A LEGEND Herur22!
He, he, thank you.
wow. great performance 1960 and so cool guy black hair karajan
Bravo!!!
Beautiful singing and staging.. Beautifully played as well. I imagine that Richard Strauss would have approved this production. My only regret is that I could not understand any words the female voices sang, only Ochs was understandable much of the time. Thank you so much for posting this.
4:38 Act 1
1:13:43 Act 2
1:39:16
2:09:38 Act 3
una verdadera joya de un tiempo insuperable
Edelmann et Schwartzkopf parfaits !
la perfezione totale......❤❤❤