LISE Strauss - Lise Davidsen at Den Norske Opera & Ballett
Вставка
- Опубліковано 7 бер 2024
- The Norwegian soprano, Lise Davidsen is a sensation, with a very full diary and accolades to match. Between her engagements at the Metropolitan Opera, La Scala and Bayreuth, she has taken time to record an unique concert with Norwegian Opera Orchestra under the baton of Edward Gardner. Filmed by Einar Film and staged by film director Eivind Holmboe, here is a new take on a solo recital. The resulting hybrid between concert and film gets us close to Lise, inside the iconic Norwegian National Opera and under the skin of three women from Richard Strauss's operas. Streamed on OperaVision on 8 March to mark International Women’s Day 2024.
Lise is indeed about three women in different phases of their lives, reflecting on who they are, where they are going, and what they have become. What became of the young girl I was, asks the mature Marschallin. We see Lise Davidsen as the heroine of Der Rosenkavalier and as two other strong women from the composer who was a master in writing for the soprano voice: Arabella and Ariadne. While the former wonders what or who she really longs for, the latter longs to lose herself to find again what was lost.
Lise Davidsen appears courtesy of Decca Classics.
Full performance streamed on OperaVision from 8 March 2024 at 19:00 CET to 8 September 2024 at 12:00 CET: operavision.eu/performance/lise
CAST
Soprano
Lise Davidsen
Orchestra
Norwegian National Opera Orchestra
Music
Richard Strauss
Text
Hugo von Hofmannsthal
Conductor
Edward Gardner
Director
Eivind Holmboe
Concert Master
Guro Kleven Hagen
Producer
Maria Costa
PROGRAMME
‘Da geht er hin’, Der Rosenkavalier
‘Mein Elemer’, Arabella
‘Ein Schönes war’, Ariadne auf Naxos
‘Es gibt ein Reich’, Ariadne auf Naxos
‘Die Zeit, die ist ein sonderbar Ding’, Der Rosenkavalier
OperaVision is a freeview opera streaming platform, supported by the European Union's Creative Europe programme. Watch live streams as the performances themselves unfold in the opera house. Enjoy a variety of shows - including opera, operetta, musical theatre, dance, ballet and concerts. Opera connaisseur or curious newcomer, there is something for everyone on OperaVision.
operavision.eu/
/ operavisioneu
/ operavision_eu
/ operavision.eu
/ operavision
Absolutely beautiful. Particularly her singing of the Marschallin, such a perfect interpretation. I'd love so see her perform this sometime. Congratulations Lise Davidson !
Thank you so very much for giving us the opportunity to watch this concert film with Lise Davidson. Such a marvelous voice and great interpretations, very enjoyable, but sadly a far too short programme.
She is great in this repertoire.
Lise sings so beautifully.
Beautiful expressive voice. A very interesting programme
So proud of being a Norwegian because of Lise Davidsen😅❤
you are funny, you had before kirsten flagstad ... when i was about 19 (now i am at the birthday of richard wagner soon 79) i traveled from berne to zurich to hear and sea kirsten flagstad in the zurich opera ... in wagner ... i think it was tristan und isolde ... i would have to check ... if you ask me ... lise davidsen comes very close to lisa della casa ... a swiss singer ... she even knew richard strauss and i called her once and we had a real funny conversation ... if you want to know more ... i tell you ... i was quite fortunate in this live ... an aunt was a music critic ... she took me to ariadne auf naxos when i was about 19 ... another one had made the reinhardt seminar in vienna and took me to theatre when i was six ... and when i was 19 another aunt in milan introduced me to the chief of the ticket office of la scala and then i got for about 5 years (then he retired) always tickets even if it was sold out ... last remark ... you can be more than proud ... mme. lise is more than perfect ... she is t h e strauss singer (based on my aunt ... without wagner no strauss) ... from switzerland with love ...
Nice to see this as i will see her today In Forza from the Met Live in HD
tomorrow i am going to see her at the Met opera.
How was it? I am seeing the show tomorrow.
my best opera day was 75 in the met ... in the afternoon walküre with nilsson and in the evening gala performance with luciano pavarotti ... i was about 14 times at the opening night of la scala ... but at the end of my life ... which opera was the most important ... i think it was the met ... i flew often from zurich to nyc for one week, 10 days opera ... from switzerland with love ...
Merci💖 👏👏👏
Uma voz magnífica! Precisa e comovente.
I saw her in il Tabarro last year in Barcelona, great voice ❤
The Operavision description says there are English subtitles (and I've turned them on) but I'm not seeing them. Please fix.
❤❤❤
Xtra!!!
I just saw her a couple of days ago in the Met movie theater showing of Forza. She has a very expressive face, and a glorious voice. I really enjoyed this presentation. The orchestra sounded gorgeous, and the theater itself is quite impressive. She is perfect for Strauss. Thank you so much.
Here's an English translation of «Mein Elemer!» from Arabella (the second aria):
My Elemer! - It has such a strange sound.
He my - I be. What is that, it's
like, as if a fear attacked me -
and a longing yes, after what in the world?
After the Matteo?
because he always says
he can not live without me, and look at me
with eyes like a child?
After the Matteo, nothing in me yearns!
A hesitation, then breaking out
I want to see my stranger again!
I would like to hear his voice once! -
Then he would be like the others for me. -
How does the Zdenka say: we have to wait until one chooses us,
and otherwise we are lost.
It's time for her to come in girl's clothes, the little one,
she has such strange looks. If I'm married then
she has to be with me. Married to the Elemer?
What touches me as if I'm trampling on you?
Is this the stranger with whom I have never spoken a word that
attracts me in the dark?
Lord God, he is certainly a married man
and I shall and I will not see him again,
And today is Faschingdienstag and in the evening is my ball
- of which I am the Queen - and then ...
The film contains these excerpts:
«Da geht er hin»
Der Rosenkavalier, Op. 59
«Mein Elemer!»
Arabella, Op. 79
«Ein schönes war»
Ariadne auf Naxos, Op. 60
«Es gibt ein Reich»
Ariadne auf Naxos, Op. 60
«Die Zeit, die ist ein sonderbar Ding»
Der Rosenkavalier Op. 59
Music
Richard Strauss
Libretto
Hugo von Hofmannsthal
Here's an English translation of «Es gibt ein Reich» from Ariadne auf Naxos (the fourth aria):
There is a realm
where all things are pure:
It also has a name:
Sheol [Land of the Dead]
Here nothing is pure!
This place, all came to all.
Soon, however, comes a messenger
Hermes, she called him.
With his staff
He ruled the souls:
souls are like birds,
but like dead leaves,
He pushes them down.
You are beautiful, silent God!
See! Ariadne waits!
Oh, all wild pain
The heart must be cleaned;
Then your face will nod to me
If you step outside my cave,
Darkness is on my eyes
Your hand be upon my heart.
In the beautiful ceremony dresses,
Which my mother gave me,
these limbs will remain,
the silent cave is my grave.
But my soul silently
Followeth her new master,
As a light sheet in the wind
Follows down, follows so much
You will free me,
I give myself,
This oppressive life
You take it from me
To you I shall lose myself completely
Ariadne will be with you
Here's the English translation of «Da geht er hin» from Der Rosenkavalier (the first aria)
There he goes, the bloated bad guy, and gets the pretty young thing and a pinkel money.
As if it had to be like that. And it comes to mind that it is he who forgives something. What is it that makes me angry?
That's the way of the world. Can I also remember a girl who is fresh from the convent commandered into the holy state.
Where is it now? Yes, look for the snow from last year! That's what I say:
But how can it really be that I was the little Resi and that I would be the old woman? The old woman, the old marshal! "Victory, there goes the old Princess Resi!" How can that happen? How does God do that? Where I am always the same. And if he has to do it, why does he let me watch it with such a clear sense! Why is not he hiding from me? It's all secret, so much secret. And you're there to endure it. And in the "how"
there is the whole difference.
www.opera-arias.com/strauss-r/der-rosenkavalier/libretto/english/
Is there subtitles?
Here's an English translation of «Die Zeit, die ist ein sonderbar Ding» from Der Rosenkavalier (the last aria):
Time is a weird thing. If you live that way, it's nothing. But then suddenly, you feel nothing but her. She is around us, she is inside us too. In her face she is trickling, in the mirror she trickles, in my temples she flows. And between me and you, it flows again, silently, like an hourglass.
Oh, Quinquin!
Sometimes I hear them flow - unstoppable.
Sometimes I get up in the middle of the night and leave the clocks all, all stand. But you do not have to be afraid of her either. She too is a creature of the Father who created us all.
www.opera-arias.com/strauss-r/der-rosenkavalier/libretto/english/
An interesting film, which could perhaps be trying to do too many things at once. The purpose is a worthy one - to demonstrate that Straussian opera offers great roles for women, and emotional depth in the characters it presents. I found this is a little hard to assimilate this to the hi-tech of the opera house itself, cool, monochrome, metallic grids, etc. In particular the spherical drone light that appears to Ariadne. Is it meant to be Hermes as psychopomp, ready to lead Adriane's soul away? If it is a meeting point of two realms, technological creation and artistic creation, it is taking a lot of interpretative weight. Lise Davidsen is impressive; I liked the emphasis on her stature. Maybe the characters she has created for us should have been left in the building, not following her out into the sun? (That seemed sentimental.) Anyway, I feel grateful to the filmmakers, there's a lot happening here.
❤️🇱🇨!!!
Depressing that this is lauded. In every dimension falls so far short of what this repertoire can be.
Here's ab English translation of «Ein schönes war» from Ariadne auf Naxos (the third aria):
A golden time was Theseus-Ariadne,
of glorious light, of joy in love and laughter.
Why must I know of that? Let me forget them.
And yet I must recall it; fear and shame
lie heavy on my mind. I must defeat them!
Yes, now I have to find her,
the girl that I was.
I… see her…
Grant me strength to keep her memory…
But not the name; her name is lost forever
within the name of another.
www.chandos.net/chanimages/Booklets/CH3168.pdf
🤫🧏♂️
I keep saying that addressing this soprano as “Lise”, as so many are wont to do, is not only disrespectful and infantile but potentially sexist. She is not an object, no one owns her, like one would a doll. And she hasn’t granted people the right to call her “Lise” as if they were on intimate terms with her. I can’t believe she allowed this short film to slap LISE across the screen. This is just absurd. One more thing, the Marschallin monologue was good. Not so the Arabella. The voice does not have the float for it. Didn’t get to the Ariadne but will later on.
Overwrought pearl clutching at its finest, bravo.
@@dudeforcaster8630 Call it what you may but it’s the inconvenient truth.
Can you elaborate as to why it's disrespectful, infantile and potentially sexist? Presumably she would not agree with you given that she almost certainly sanctioned the name for this film. I would argue that it is the highest accolade to be known simply by your first name, just like the sublimely talented artist Michelangelo.
@@Rovingrich555 For the reasons I already gave. In addition, addressing someone we don’t know intimately by their first name sounds rather affected. That she and the producers of the video sanctioned slapping LISE across the screen tells us that they have caught on to the affectation and chose to play along, to use it to their advantage as marketing prop. It’s somehow inelegant and, ultimately, the joke is on them and on the “Lise”-addressing infantiles.
@@doGreatartistsgrowontreesWhich country do you live in? I know it varies widely across cultures. In the United States, addressing someone (anyone!) by their first name is very common. Even CEOs and politicians get addressed by first names. But in my native country (which I won't name), it's first name and patronymic unless you know the person closely.
How ridiculous these masks again ? For what purpose ?
Thank you for writing it. The problem with Davidsen's voice is that it always comes in waves. Every note "opens" too late, the vibrato is too big for the German repertoire. Technically, this is not at all convincing for me. I heard her as Sieglinde and with the last 4 songs. The latter were torture. She has a good management that takes advantage of the lack of really great voices, but Davidsen is not a dramatic singer, but youthful with artificial grandeur.
@@Altonahh10I was talking about the useless Covid masks... :)
But I totally agree with what you write about the voice. I don't understand the big buzz around it, nor vocal material nor technique... From the start, she has NEVER convinced me.
But there are really some mysteries about what makes success (and a career...). The biggest mystery of all for me must be Cyrille Dubois ! (??????).
How about singers naturally not wanting to catch common colds? And if you are working up close to someone whose work depends on their voice, a courtesy, a sign of care?
@@roybooth7904This is totally grotesque. Common colds and viruses have existed for centuries, and never before have we had this craze of face masks, which furthermore are totally useless in protecting from viruses. If singers do not want to catch common colds, they can either stay home, or change their line of work.
So overrated.
So ignorant! You know not whereof you speak.
❤❤❤