Così fan tutte - Come Scoglio aria (Corinne Winters, The Royal Opera)
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- Опубліковано 7 січ 2019
- Corinne Winters in Mozart's theatrical and tuneful comedy about love and fidelity. Find out more www.roh.org.uk/productions/co...
Così fan tutte contains some of Mozart's most beautiful arias and attractive ensembles, and is packed with both pathos and humour. German director Jan Philipp Gloger is inspired by Così's alternative title, 'the school for lovers', to set his production in a theatre, with Don Alfonso as an impresario who leads the four lovers on a role-playing journey full of picturesque settings. By the end, everyone has, in Gloger's words, learnt that 'love is not a God-given thing, but something that we have to fight for, find, define, create and dream newly, almost every day'.
Così fan tutte was Mozart's final collaboration with the Italian librettist Lorenzo da Ponte, who based his story on a variety of sources including Greek myths and Renaissance tales. Così was slower to find success than Mozart and Da Ponte's previous collaborations, Le nozze di Figaro and Don Giovanni. Its first run of performances was cut short by the death of Emperor Joseph II, and in the 19th century many viewed its plot as immoral or even cruel. However, since the second half of the 20th century its wonderful music and Mozart and Da Ponte's witty, compassionate examination of young love have ensured its lasting popularity. - Розваги
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I went to the live streaming of this and found the modern interpretation both believable and disturbing in a way Cosi had never before been. I am very grateful to the director for effectively explaining it to me and making it real. I loved the music and singing too.
Amazing Fiordiligi! Corinne Winters never disappointed me. She's a superb singer.
Beautiful song and it was like a Pleasure to hear it in your voice Corinne !!
WOW! I take a bow! She is brilliant here!
I love her voice, so cool, charismatic!
Beautifully-sung, but I'm kinda confused by this stage and action.
Amazing and Beautiful!!
Corinne was definitely a highlight in this production.
The heavy handed old fashioned conducting sounded even worse in a production like this. This is when you need a Teodor Currentzis to come and make Mozart's music explode. But boy Winters nails it. If she chooses her repertory intelligently she could be queen
Bellissimo!!! Condivido con grande piacere, Alamanno.
Eine sehr schwere Arie! Hier perfekt , auf den Punkt !!!!!!!!
She's got some pipes!
fun fact this song was written to make the first singer of it bob her head like a chicken
Wasn’t that in the Magic Flute?
@@lefinlay Nope, it was this aria. The original singer tossed her head back on high notes and lowered her chin on low notes, which is why this aria jumps so frequently.
@@elijahharris1113 Yes. The role was created for Adriana Ferrarese del Bene, da Ponte's mistress. Mozart couldn't stand her and resisted da Ponte on casting her on this one. Finally he gave in and, exploiting his sense of humor, created this aria for Fiordiligi, with the huge intervals intended to make her look like a chicken pecking for food. I have yet to see a Fiordiligi perform it as Mozart intended. :-(
@@brucetaylor894 Unfortunately Snopes seems to debunk that the chicken comment is actually something Mozart said, so that's probably why
Bravisimo
Как же исполнительницы все до единой боятся шевельнуть подбородком 👌 Ну Моцарт, ну хитрец ))
Beautiful singing, but why does everything need a contemporary spin?
I guess the fat lady was not available! lol As singer get a more slim figure, I guess they like to show it off! Perhaps this way opera is more attractive to younger generations.
Well, Mozart was a composer who loved to show real life rather than focusing on myths from antiquity. Real modern people experiencing real emotions. The opera itself is contemporary, why not have the aesthetic of the production be contemporary as well
@Franz Liszt the stage does feel a little out of touch, but the singing is still incredible.
Maybe, it is not so expensive, the costumes etc.
💕
O JOGO DE BÚZIOS
"Come scoglio"- Così fan tutte, de Mozart, é uma ária
Que nos fala sobre o clima de adversidade na relação
Entre pessoas, respeitando as ingratas. Extraordinária
É a atitude de ser constante. É a esperança em ação.
Firme como uma rocha, inabalável diante dos ventos
E da tempestade. Assim é alma forte, com fé e amor.
Diferente do ego que muda de atitudes nos tempos:
Ora quer uma coisa, depois não quer mais, sem rigor.
A mudança dos hábitos e costumes, provocada pela
Covid - 19, é de salutar apreciação, pois, hoje em dia,
Sair por aí, por lugares desérticos, em todos congela.
Boate, cabaret, lugares de orgias estão ficando vazios
Em que o dinheiro some, tirando de todos a alegria,
Com algo que vem por aí, denota o jogo de búzios. (*)
(*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - O JOGO DE BÚZIOS (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
Didn't see the head bobbing.
Deeply dissapointed
Mozart wrote this aria specifically because he hated the original soprano who sang it. Knowing her propensity for bobbing her head “like a chicken” he purposefully wrote the work with massive leaps and changes in tessitura. Adriana Ferrarese del Bene was the soprano.
For the people below who question why it is in contemporary costuming Mozart wrote this opera about people in his own time and place. It is about the eternal issue of how human love works. Why would we not want to see that question addressed as a contemporary one? I think Mozart, who was a rule breaker and scalawag as a person, would likely have loved a production like this. Obviously other operas like Idomeneo do not make sense when transferred to modern presentations but this and, I think, Marriage of Figaro both are enhanced in some ways by modern productions although it is good to have the choice about presenting such a production left to the singers, musicians and impresarios who know the most about such things.
Funny that Mozart wrote this aria to make a joke out of his librettist's mistress that he hated, who would sing this, because she had such terrible range, so she would "look like a pecking chicken"
On the other hand he wrote The Magic Flute to show off his sister-in-law's voice range.
All true but she was known to have great range
One of my favorite stories.
@@beethovenlovedmozart you can have great range and be a dreadful person.
Don't mind me. Just came from two set violin.
:0 another lingling wannabe!
The low register is so underpowered. Why do singers not develop their chest registers? It's so obviously essential for this role.
Also 0:22 “Contnai venti”?
no one will ever have the answer for this because the industry treats it like it’s taboo
You can check this channel, it’s really good at explaining the necessity of chest voice and why this issue is a ‘taboo’ in opera society. @thisisopera
viciousdudu yes I know the channel. They say many things that are correct, but are very extreme in other regards, and not everything they say is useful.
Yes, i agree. I think sometimes it’s over oldschool. But at least that channel is really necessary for this society to say something extreme :)
Would love to hear you do it better