Splendida opera, bella da togliere il respiro, che ho guardato con piacere decine di volte.Merritt, Horne e Blake insieme erano eccezionali: grandi interpreti rossiniani! 🤩🌈 Un 'edizione che ha fatto la storia della rossini renaissance!
Ermione, daughter of Helen and Menelaus: Montserrat Caballé, soprano Andromaca, widow of Hector: Marilyn Horne, mezzo soprano Pirro, son of Achilles and king of Epirus: Chris Merritt, tenor Oreste, son of Agamemnon: Rockwell Blake, tenor Pilade, Oreste's companion: Giuseppe Morino, tenor Fenicio, Pirro's tutor: Giorgio Surjan, bass Cefisa, Andromaca's confidante: Paola Romanò, mezzo soprano Cleone, Ermione's confidante: Daniela Lojarro, mezzo soprano Attalo, Pirro's confidant: Enrico Facini, tenor Place: In and around Pirro's palace in Epirus Time: Soon after the Trojan War Act 1 Scene 1: A dungeon in the palace Astianatte sleeps while the prisoners continue their lament (Chorus: Troja! Qual fosti un di / "Troy! Once so great"). Andromaca arrives, escorted by Fenicio, Attalo and Cefisa, and embraces her son (Cavatina: Mia delizia! / "My only joy!"). Attalo reminds her that Astianatte will be released if she can forget Hector, her dead husband, and give in to Pirro's advances. Fenicio, fearing another outbreak of war, rebukes Attalo, and reluctantly tears Andromaca away from her son. Scene 2: The gardens outside the palace Cleone and some maidens invite Ermione to go hunting with them (Chorus: Dall'Oriente l'astro del giorno / "The sun is rising in the east"), but she is angry that Pirro has forsaken her and is courting Andromaca. Pirro arrives, expecting Andromaca, but she is not there. He sees Ermione and tries to escape, but she detains him and they quarrel (Duet: Non proseguir / "Say no more"). They are interrupted by a chorus of grandees, who announce the arrival of Oreste (Sul lido, di Agamennone il figlio, Oreste, è giunto / "On our shores Agamemnon's son Oreste has landed"), to Pirro's alarm and Ermione's delight. Pirro recovers and leaves to arrange Oreste's reception; meanwhile, Ermione fears that Oreste's arrival will only lead to the marriage of Pirro and Andromaca. Scene 3: The throne room in the palace Oreste, overwrought, appears with Pilade, who tries to calm him. He declares his unrequited love for Ermione, but Pilade tells him that he must do his duty (Cavatina and duet: Che sorda al mesto pianto ... Ah! come nascondere la fiamma vorace / "She is deaf to my tears ... Ah, how can I hide this voracious flame"). A march announces the arrival of Pirro and Ermione, attended by Fenicio, Attalo, the grandees and guards. Andromaca also enters, but stays at the back of the stage. Oreste tells Pirro that he represents all the kings of Greece, who are agreed that Astianatte must die before he is able to avenge the death of Hector, his father. Pirro defies Oreste, saying that he will do as he wishes, and that Astianatte may even share the throne with him (Aria: Balena in man del figlio l'asta di Achille ... Deh serena i mesti rai ... Non pavento: quest'alma ti sprezza / "Achilles' spear flashes in his son's hand" ... "Brighten your gloomy gaze" ... "You cannot frighten me: my soul despises you"). Andromaca and Ermione are aghast, Oreste warns Pirro that the Greeks will be angry with him, and Pilade vows that he will save Oreste from Pirro's anger. Scene 4: The gardens outside the palace Ermione tells Cleone that her love for Pirro has turned to hate. Oreste declares his love for Ermione, but she rejects him (Duet: Amarti? / "I? Love you?"). Pirro arrives with the grandees and his retinue, who announce that he has changed his mind and will return to Ermione (Chorus: Alfin l'Eroe da forte / "At last, the resolute hero"). Pirro then tells Oreste, to the astonishment of everyone, that he will, after all, hand over Astianatte to him. (Ermione, then the others and Pirro: Sperar, poss'io? ... A me Astianatte / "Should I, can I, hope?" ... "Bring Astianatte here") As the guards prepare to do so, Andromaca pleads with Pirro to give her time to think. Ermione is furious, and Pirro again rejects her. Andromaca vows to commit suicide if she is compelled to marry Pirro, while Pilade urges Oreste to leave with him. The Act ends in general consternation. Act 2 The palace's entrance hall Andromaca arrives to tell Pirro that she will marry him. Overjoyed, he sends Attalo away to release Astianatte and make preparations for the wedding. Andromaca, unhappy, swears to herself that she will not be unfaithful to her dead husband, and while Pirro urges her to make her vows at the altar, she again resolves to kill herself (Duet: Ombra del caro sposo ... Vieni a giurar / "Ghost of my dear husband ... Come and swear at the altar"). Pirro leaves. Andromaca decides that, before she dies, she will make Pirro swear that Astianatte will be spared. Ermione, accompanied by Fenicio and Cleone, appears and insults Andromaca, who forgives her and departs. She asks Fenicio to tell Pirro that she still loves him, even if he is planning to desert her (Aria: Di, che vedesti piangere / "Tell him that you have seen my tears"). He leaves, and Cleone tells Ermione that Pirro is not worthy of her. Ermione contemplates suicide (Aria: Amata, l'amai / "I was loved and loved him"). Pirro appears in the gallery to the sound of a festive march, and he and the wedding procession pass by (Chorus: Premia, o Amore, sì bella costanza / "God of love, reward this touching constancy"). Ermione swoons, but when her maidens and friends try to comfort her, she demands revenge. Oreste enters and tells her that he still loves her. She hands him a dagger and, trembling, he leaves to avenge her. She asks the gods to strengthen his arm, while Cleone and the chorus comment on her anguish (Chorus and duet: Il tuo dolor ci affretta a consolarti ...Se l'amor mio ti è caro ... Incerto, palpitante ... Se a me nemiche stelle / "We come to console you ... If my love is dear to you" ... "Uncertain, palpitating" ... "Unless, o gods, you are my enemies"). She rushes out in a fury, followed by the others. Fenicio and Pilade meet, predicting Pirro's downfall if he goes ahead with his marriage to Andromaca (Duettino: A così triste immagine / "Such sad imaginings"). They leave in opposite directions. Ermione returns, extremely agitated. She does not know whether she loves or hates Pirro, and regrets ordering Oreste to kill him (Aria: Parmi, che a ogn'istante de' suoi rimorsi al grido / "I imagine that at any time he may utter a cry of remorse). Oreste appears, wild-eyed, stumbling and holding out the bloodstained dagger. He tells Ermione that she is avenged, (Duet: Sei vendicata / "You are avenged") and describes how Pirro spared Astianatte and swore to make him his heir. Surrounded by angry soldiers drawing their swords, Pirro was attacked and killed, but not by Oreste, who says that he had given the dagger to another man and then reclaimed it. Ermione accuses Oreste of murder, and he realises that she was still in love with Pirro. She asks the Eumenides to destroy Oreste. Pilade and his sailors arrive, telling Oreste to flee with them. At first he refuses, but as Ermione tells him that she hopes that he will drown, she faints. He asks thunderbolts and death to do their worst as Pilade and the men half-carry him to their ship (Finale: Ah! Ti rinvenni / "Ah! I have found you").
The theater in Pesaro has a splendid architecture the costumes are beautuful and the artists are performing a splendid music . we cannot ask for more .
My, Caballe is 54 here? Well, I am speechless. I am impressed, too. This woman has been through many medical interruptions to carry on with the day. An inspiration. I just love this woman...I will miss Montserrat Caballe very much. In light this is a rehearsal, I am content and very grateful someone was intelligent to film.
Merritt and Blake on top of their form here !! I fail to understand the criticisms directed their way in the comments. There's beautiful clarity in Blake's voice (not metallic) and such astounding agility. And I'd be a happy man if I could "croon" one hundredth as well as Merritt does here ! They sang (and acted) everyone else off the stage.
Ho visto UN OTTIMO -MAI ANTONACCI E BRUCE FORD , GERMANI, REGIAA, CANTANTI OTTIMI, SONIA GANASSI PREZZEMOLO E SIRACUA CALVO , ERA PER IL GIGANTE GREGORY KUNDE. NEL 2019 SAN CARLO SUPERATA ORRORE REGIA CANTANTI NULLITA INCAPACI CANTARE COLORATURE, BTUTTA GRASSA -SIMILE, MONSERRET CABBALLE, PIRRO NON PARLO=NULLAORESTES SOLITO CALVO SYRACUSA QASI NULLA, AMDROMACHA NON E DA ANAL7ZZARE, REGIA ORRENDA, VESTITI DI OGGI. IL PEGGIO "ERMIONIONE POSSIBILEE TUTTI SENZI PER ME FINE OGGI!!MARTA BEATRIX DARDAY
Ciao Come ho scritto usando un traduttore di internet, questo può essere cattivo italiano. Volevo dire grazie per la pubblicazione di Ermione.What una grande produzione, la prima in tempi moderni.C'è anche una produzione meravigliosa da Glyndebourne. Ancora una volta un grande ringraziamento.
Hola Esto puede ser mal italiano como he escrito usando un traductor de internet. Quería agradecerles por publicar Ermione.What una gran producción, el primero en los tiempos modernos.También hay una maravillosa producción de Glyndebourne. Una vez más gracias.
che meraviglia!!! ero io Astianatte!!! che bello rivedere questo video, mi riporta indietro di 26 anni a quando ne avevo 4 e credevo che la Horne fosse la mia seconda madre:) ho un sacco di ricordi di quell'estate!
Dorian Gray approfitto per salutarti visto che conosco i tuoi due fratelli maggiori: con il più grande ho fatto le elementari e poi il Conservatorio, dove ho conosciuto anche "quello di mezzo". Ho da sempre saputo che Astianatte eri tu ma non ci siamo mai conosciuti. Se sei curioso di sapere chi sono, prova a chiedere al fratello primogenito, che proprio in questi giorni sta organizzando una cena delle elementari... :-)
yes I was only 4;) I was afraid of Caballe because they told me that she wanted me dead in the opera so she gave me a box of chocolates and I accept her as friend;))) and Marylin Horne gave me a box of lemon candies:))) I was a fortunate child;)
As this 1987 production,from Pesaro,was the first in modern times,it might be difficult to find an English libretto.I have looked on the net for you,but cannot see it anywhere.The nearest is a good plot synopsis.Go to Wikipedia and enter Ermione and you will be able to read the plot,which has to be better than nothing? I think we owe signorinaermione2 a big Thank You.
J’ai toujours considéré Caballé au sommet de l’histoire de l’opéra, mais à Ermione, il ne chantait plus. Je l’ai vue à Ermione en avril 1988 à Madrid et c’était vraiment dommage. Aujourd’hui, je vis subjugué par tout ce qu’il a chanté avant, mais déjà en 1986, dans un récital au Teatro Colón de Buenos Aires avec accompagnement de piano, sa présence était testimoniale mais décadente.
Hello everybody! I have just listened to Racine's Andromaque and I am eager to watch this Rossini's masterpiece, but there is a problem, I can't understand the words. Would you be so kind, signorinaermione2, and post the English subtitles? Please, from the bottom of my heart. :) Consider it a Christmas present for a Romanian teenager.
Pero fue un desastre esa función! Para algunos fue la peor función del Festival de Pesaro de todos los tiempos. El director llegó a Pesaro sin haber visto nunca la partitura, pensando que con los ensayos era suficiente para aprenderla. Pero ahí se dió cuenta que no era una obra nada fácil. A Caballe la abuchearon no tanto por su estado vocal. Fue por haber cambiado, adaptado y simplificado totalmente la partitura. Tanto que en un momento pide una partitura y se pone a discutir con el público, señalando la partitura y diciendo que estaba cantando lo que estaba escrito. (Algo que no era cierto) It is normal for singers to make small adjustments to help them negotiate passages they find particularly difficult (nineteenth-century musicians called these adjustments puntature). It is quite another thing for a singer to omit or rewrite to the point of unintelligibility large portions of a score. At the climax of Ermione’s “gran scena,” she dispatches the love-sick Oreste to kill Pirro at the altar, where he is exchanging marriage vows with Andromaca. Caballé mortally weakened Rossini’s melodies by radically simplifying them, then by altering the notes at the climactic moment of the melodic line. Why? Simply, as she told me directly, because she found it harder to sing the phrase Rossini had written. In Ermione’s final duet with Oreste, where she berates the confused son of Agamemnon for not understanding that she continues to love the man he has murdered, Ermione is supposed to repeat obsessively, six times, a pattern of four sixteenth notes (with the text “hide yourself from the eyes of living beings, murderer, traitor”); then she must leap fortissimo to a high b♭, one of the highest notes she is asked to sing anywhere in the opera, precisely on the powerful syllable “[tradi]-tor” [traitor]. Caballé reduced the passage to one fleeting four-note pattern, then let loose with a resounding high b♭, as if that were all her fans had come to hear. Having decimated the musical content of the part, she presented herself before the booing public with a copy of the score, pointing to it as if to assert, “I have sung what Rossini wrote.”
Fra il 1817 e il 1818 il milanese Angelo Monticelli esegue - secondo i canoni della pittura neoclassica - il sipario dipinto raffigurante la Fonte di Ippocrene.
forzavis Hello and thank you for responding to my request about the beautiful painting (curtain) in Rossini”s great Opera “Ermione” , I know this reply is quite late, I did want to take time and thank you . The information you provided was very helpful to me. Do you know if there is a production of Ermione with English subtitles ? I speak/understand little Italian .Thank You.
@@1511doriangray yes this can be in the effort to please -- we are at rehearsal too...anything can be of the occasion to be stopped, interrupted, etc...
Sólo un gente maleducada y desconsiderada puede abuchear a una grande como Caballe. Todo cantante puede tener una mala noche. Con no aplaudir alcanza. En el Colón dos mezzos italianas famosas y en declive hicieron una Amneris inaudible en dos temporadas consecutivas, y el público no sólo no las abucheó sino que aplaudió (poco) por su trayectoria. Eso es educación. Los abucheos tienen que ver con creerse arbitros de la lírica. Miserables.
No se si quieres decir que los Argentinos son educados y no abuchean y los Italianos no...Maria Callas en 1951 fue abucheada en el Colòn, y cantò una maravillosa función de Tosca preservada en grabacion live. La nacionalidad de el publico no tiene nada que ver. La Caballe sobretodo en esa epoca conclusiva de su carrera era siempre mal preparada en su rol, me han tocado varias, y esta es la principal razón de los abucheos. No estoy de acuerdo con abuchear, a menos que sea de verdad algo desastroso y no por salud. La salud de la Caballe en esa epoca no tiene nada que ver, cantaba mal y ya. Ademas el publico italiano tiene fama por ser bastante "conocedor" y cantar ahi puede significar estar expuesto a criticas a veces muy duras, pero asi es...
@@stefanodepeppo Callas canto en el Teatro Colon unicamente en 1949 las siguientes operas: "TURANDOT", "AIDA" y "NORMA", nunca "TOSCA." Y tampoco fue aucheada en ninguna de las tres. No se de donde habra sacado esa (des)informacion porque todo eso ES FALSO.
Superb performance of a neglected masterpiece which I saw in Glyndebourne back in 1996 and will enjoy again, the gods willing, at the San Carlo di Napoli this coming November for the work's bicentennary. The intensity of the final scene is overwhelming and contains some of Rossini's very best music. Excellent classical staging too. Horne, Merritt and Blake are offering a masterclass in dramatic Rossinian singing. I have always particularly admired Rockwell Blake and he easily eclipses the other singers here. The instrument is somewhat metallic but his vocal virtuosity and passionate involvement are breathtaking. If only Caballé were not singing Ermione...too old for this, she shows total disrespect for the score, the role and her colleagues, taking unforgivable liberties with the tempo, muddling cadenzas and coloratura, eating words, rounding off phrases to the nearest vowel, screaming the higher notes. Do we need to discuss her ZERO stage acting, here limited to two hand gestures? She is even worse, if at all humanly possible, in Madrid 1988. Vergogna!
@@b13ne Yes, I was there. And I was let down. Stupid inert production confused between classicism and modernism. Angela Meade impressive to hear in Act 2 but poor stage presence and she is so huge any kind of movement looks ridiculous. Siragusa had some good moments as Oreste but the real disaster was John Irvin as Pirro, tiny little voice barely audible, struggling to sing the notes and clumsy deportment in an atrocious blue suit. What a pity. Hey, it was a fiasco in 1819 and again a fiasco in 2019! I would have so much liked to be present at the 1987 Pesaro production...
@@philipc67 I couldn't agree more. Pirro was a disaster and in one of the performances he had a bad reaction against the audience booing him. Apart that it was a lost occasion. This year's Maometto II (october) is still in the clouds because of Corona Virus restrictions.
I realize Caballe is an icon and is for some above criticism. But the commentators who think this is a marvelous production and performance clearly don’t know or have never heard this opera….
Well I attended four performances of this opera on stage ( this one in Pesaro included) and several more on recordings. It is difficoult to say which is the best edition but surely the trio of tenors of this edition remains unsurpassed Marilyn Horne was fantastic and the mise en scene of Pier Luigi Pizzi is music itself. Monserrat Caballe in those years had several health problems and she often erased performances or reharsals and surely was nor 100%. On the other hand I should say that the recording quality of this video is very very poor and what remains is only a pale shadow of what has been the representation on stage.
leo lo del abucheo a Caballe y el Colon. Lamentablemente debo contar a la compatriota una verguenza de nuestro primero coliseo. el inmenso Richard Tucker llego anciano al Colon. Canto Rigoletto. Hizo bien "la donna è mobile" la primera vez. cuando la canta en off el agudo fue malo. El cutlo publico de Bueos Aires lo silbo. senti una gran verguenza. (la misma que siento cuando se embandera el nacionalismo para defender o atacar cualquier cosa
TUTTO MERAVIGLIOSO!REGIA, PIU CHE STUPENDO. CHRISS MERRITT E ROCKWELL BLAKE PERFETTI, MARILYN HORNE BELLA, VOCE UNICA PER ETERNITA BELL PIU NON SI PUO DIRE. MONSERRAT CABALLE UNICA ORRENDA GRASSACOME SEMPRE, ERMIONE DOVEVA ESSERE BELLISSIMA,-FIGLIA DI ELENA- SOTTO 20 ANNI MOLTO. SUA VOCE DISTRUGGE LA MUSIICA PIU STUPEDA DI ROSSINI PIU DIVINO.. AÑNA CATHERINA ANTONACCI VERA ERMINIO NICA, ANCHE IN VESTITI NON EPOCA(ALTRA ORRORE SONIA GANASSI, MA MONSERRET CABBALE SUPERA IN ORRORE VOCE INESETENTA DA ETA, DISTRUTTA TUTTO , VEDERE LEI VOLTA STOMACO ASSOLUTAMENTE!!!!!!!!MARTA BEATRIX DARDAY
This is terrible. Shame on a once stellar performer (Caballé) for taking the money and turning in a performance this bad. Ok she can throw out an arm and point, but that's about it. Painful. Horne too is past her best, but at least can sing the notes. Never liked Merritt much, but once again, at least he can sing what's written. Even when he's crooning his way through his big aria just before the first finale. Blake is the best of a pretty dire bunch, but if I never have to hear htis again it will be too soon. Luckily the excellent Glynbdebourne version is just a click or two away.
@@judyjones2475 "Anyone can have a not so good performance"?? Yeah ok... so people should pay for uvery expensive, btw) tickets for several performances in the hope that a world star will sing decently at at least one of them? Please!
@@kbhprinsesse Montserrat was a wonderful artist ,she would never let anyone down or take money that was not earned. She gave many great performances for charity .If you watch even a few of her many fantastic performances you will realise .Try Herodide ,Tosca ,Boheme etc etc 💗
@@judyjones2475 I am talking about a singer who abused her voice by singing unsuitable parts so its top range got more and more unpleasant and who "cheated" in various ways, for instance by leaving out more and more consonants and singing more and more high notes pianissimo, no matter if that specific effect was appropriate to the dramatic situation or not. It's not about whether she was a "moral person", gave to charity etc. But I don't expect a blind fan to be able to realise that.
Splendida opera, bella da togliere il respiro, che ho guardato con piacere decine di volte.Merritt, Horne e Blake insieme erano eccezionali: grandi interpreti rossiniani! 🤩🌈
Un 'edizione che ha fatto la storia della rossini renaissance!
Ermione, daughter of Helen and Menelaus: Montserrat Caballé, soprano
Andromaca, widow of Hector: Marilyn Horne, mezzo soprano
Pirro, son of Achilles and king of Epirus: Chris Merritt, tenor
Oreste, son of Agamemnon: Rockwell Blake, tenor
Pilade, Oreste's companion: Giuseppe Morino, tenor
Fenicio, Pirro's tutor: Giorgio Surjan, bass
Cefisa, Andromaca's confidante: Paola Romanò, mezzo soprano
Cleone, Ermione's confidante: Daniela Lojarro, mezzo soprano
Attalo, Pirro's confidant: Enrico Facini, tenor
Place: In and around Pirro's palace in Epirus
Time: Soon after the Trojan War
Act 1
Scene 1: A dungeon in the palace
Astianatte sleeps while the prisoners continue their lament (Chorus: Troja! Qual fosti un di / "Troy! Once so great"). Andromaca arrives, escorted by Fenicio, Attalo and Cefisa, and embraces her son (Cavatina: Mia delizia! / "My only joy!"). Attalo reminds her that Astianatte will be released if she can forget Hector, her dead husband, and give in to Pirro's advances. Fenicio, fearing another outbreak of war, rebukes Attalo, and reluctantly tears Andromaca away from her son.
Scene 2: The gardens outside the palace
Cleone and some maidens invite Ermione to go hunting with them (Chorus: Dall'Oriente l'astro del giorno / "The sun is rising in the east"), but she is angry that Pirro has forsaken her and is courting Andromaca. Pirro arrives, expecting Andromaca, but she is not there. He sees Ermione and tries to escape, but she detains him and they quarrel (Duet: Non proseguir / "Say no more"). They are interrupted by a chorus of grandees, who announce the arrival of Oreste (Sul lido, di Agamennone il figlio, Oreste, è giunto / "On our shores Agamemnon's son Oreste has landed"), to Pirro's alarm and Ermione's delight. Pirro recovers and leaves to arrange Oreste's reception; meanwhile, Ermione fears that Oreste's arrival will only lead to the marriage of Pirro and Andromaca.
Scene 3: The throne room in the palace
Oreste, overwrought, appears with Pilade, who tries to calm him. He declares his unrequited love for Ermione, but Pilade tells him that he must do his duty (Cavatina and duet: Che sorda al mesto pianto ... Ah! come nascondere la fiamma vorace / "She is deaf to my tears ... Ah, how can I hide this voracious flame"). A march announces the arrival of Pirro and Ermione, attended by Fenicio, Attalo, the grandees and guards. Andromaca also enters, but stays at the back of the stage. Oreste tells Pirro that he represents all the kings of Greece, who are agreed that Astianatte must die before he is able to avenge the death of Hector, his father. Pirro defies Oreste, saying that he will do as he wishes, and that Astianatte may even share the throne with him (Aria: Balena in man del figlio l'asta di Achille ... Deh serena i mesti rai ... Non pavento: quest'alma ti sprezza / "Achilles' spear flashes in his son's hand" ... "Brighten your gloomy gaze" ... "You cannot frighten me: my soul despises you"). Andromaca and Ermione are aghast, Oreste warns Pirro that the Greeks will be angry with him, and Pilade vows that he will save Oreste from Pirro's anger.
Scene 4: The gardens outside the palace
Ermione tells Cleone that her love for Pirro has turned to hate. Oreste declares his love for Ermione, but she rejects him (Duet: Amarti? / "I? Love you?"). Pirro arrives with the grandees and his retinue, who announce that he has changed his mind and will return to Ermione (Chorus: Alfin l'Eroe da forte / "At last, the resolute hero"). Pirro then tells Oreste, to the astonishment of everyone, that he will, after all, hand over Astianatte to him. (Ermione, then the others and Pirro: Sperar, poss'io? ... A me Astianatte / "Should I, can I, hope?" ... "Bring Astianatte here") As the guards prepare to do so, Andromaca pleads with Pirro to give her time to think. Ermione is furious, and Pirro again rejects her. Andromaca vows to commit suicide if she is compelled to marry Pirro, while Pilade urges Oreste to leave with him. The Act ends in general consternation.
Act 2
The palace's entrance hall
Andromaca arrives to tell Pirro that she will marry him. Overjoyed, he sends Attalo away to release Astianatte and make preparations for the wedding. Andromaca, unhappy, swears to herself that she will not be unfaithful to her dead husband, and while Pirro urges her to make her vows at the altar, she again resolves to kill herself (Duet: Ombra del caro sposo ... Vieni a giurar / "Ghost of my dear husband ... Come and swear at the altar"). Pirro leaves. Andromaca decides that, before she dies, she will make Pirro swear that Astianatte will be spared. Ermione, accompanied by Fenicio and Cleone, appears and insults Andromaca, who forgives her and departs. She asks Fenicio to tell Pirro that she still loves him, even if he is planning to desert her (Aria: Di, che vedesti piangere / "Tell him that you have seen my tears"). He leaves, and Cleone tells Ermione that Pirro is not worthy of her. Ermione contemplates suicide (Aria: Amata, l'amai / "I was loved and loved him"). Pirro appears in the gallery to the sound of a festive march, and he and the wedding procession pass by (Chorus: Premia, o Amore, sì bella costanza / "God of love, reward this touching constancy"). Ermione swoons, but when her maidens and friends try to comfort her, she demands revenge. Oreste enters and tells her that he still loves her. She hands him a dagger and, trembling, he leaves to avenge her. She asks the gods to strengthen his arm, while Cleone and the chorus comment on her anguish (Chorus and duet: Il tuo dolor ci affretta a consolarti ...Se l'amor mio ti è caro ... Incerto, palpitante ... Se a me nemiche stelle / "We come to console you ... If my love is dear to you" ... "Uncertain, palpitating" ... "Unless, o gods, you are my enemies"). She rushes out in a fury, followed by the others. Fenicio and Pilade meet, predicting Pirro's downfall if he goes ahead with his marriage to Andromaca (Duettino: A così triste immagine / "Such sad imaginings"). They leave in opposite directions. Ermione returns, extremely agitated. She does not know whether she loves or hates Pirro, and regrets ordering Oreste to kill him (Aria: Parmi, che a ogn'istante de' suoi rimorsi al grido / "I imagine that at any time he may utter a cry of remorse). Oreste appears, wild-eyed, stumbling and holding out the bloodstained dagger. He tells Ermione that she is avenged, (Duet: Sei vendicata / "You are avenged") and describes how Pirro spared Astianatte and swore to make him his heir. Surrounded by angry soldiers drawing their swords, Pirro was attacked and killed, but not by Oreste, who says that he had given the dagger to another man and then reclaimed it. Ermione accuses Oreste of murder, and he realises that she was still in love with Pirro. She asks the Eumenides to destroy Oreste. Pilade and his sailors arrive, telling Oreste to flee with them. At first he refuses, but as Ermione tells him that she hopes that he will drown, she faints. He asks thunderbolts and death to do their worst as Pilade and the men half-carry him to their ship (Finale: Ah! Ti rinvenni / "Ah! I have found you").
The theater in Pesaro has a splendid architecture the costumes are beautuful and the artists are performing a splendid music . we cannot ask for more .
My, Caballe is 54 here? Well, I am speechless. I am impressed, too. This woman has been through many medical interruptions to carry on with the day. An inspiration. I just love this woman...I will miss Montserrat Caballe very much. In light this is a rehearsal, I am content and very grateful someone was intelligent to film.
And Ms. Horne is 54. They had a great team and were great friends.
Maravilloso ⚘️ ⚘️ ⚘️ ⚘️ ⚘️ ⚘️ Montserrat ♥️
Caballé in grandissima difficoltà, però ciò detto vale l'ascolto ampiamente
absolutely extraordinary production! stupendous! thanks for posting
¡Congratulaciones!
¡Felicitaciones!
¡Altamente agradecida! 👏👏👏👏👏👏
Grandi! Grandi! Grandi! Grandissimo Rossini e grandissimi cantanti.Quest'opera è un capolavoro. Grazie alla Fondazione Rossini di Pesaro e al ROF.
Grandi, certo, ma meno la signora Caballe.... Quel désastre.
WOw just fantastic Montse 👏 👌 😍 😀 🙌 👍
Merritt and Blake on top of their form here !! I fail to understand the criticisms directed their way in the comments. There's beautiful clarity in Blake's voice (not metallic) and such astounding agility. And I'd be a happy man if I could "croon" one hundredth as well as Merritt does here ! They sang (and acted) everyone else off the stage.
🎼D'accord avec vous. Je ne les connaissais ni l'un ni l'autre et je les trouve excellents.
Ho visto UN OTTIMO -MAI ANTONACCI E BRUCE FORD , GERMANI, REGIAA, CANTANTI OTTIMI, SONIA GANASSI PREZZEMOLO E SIRACUA CALVO , ERA PER IL GIGANTE GREGORY KUNDE. NEL 2019 SAN CARLO SUPERATA ORRORE REGIA CANTANTI NULLITA INCAPACI CANTARE COLORATURE, BTUTTA GRASSA -SIMILE, MONSERRET CABBALLE, PIRRO NON PARLO=NULLAORESTES SOLITO CALVO SYRACUSA QASI NULLA, AMDROMACHA NON E DA ANAL7ZZARE, REGIA ORRENDA, VESTITI DI OGGI. IL PEGGIO "ERMIONIONE POSSIBILEE TUTTI SENZI PER ME FINE OGGI!!MARTA BEATRIX DARDAY
Grazie per il succosissimo post!
Che onore! Complimenti, che bella esperienza dev'essere stata (il Rof poi ha sempre avuto bravissimi figuranti bambini).
Ciao
Come ho scritto usando un traduttore di internet, questo può essere cattivo italiano.
Volevo dire grazie per la pubblicazione di Ermione.What una grande produzione, la prima in tempi moderni.C'è anche una produzione meravigliosa da Glyndebourne.
Ancora una volta un grande ringraziamento.
Hola
Esto puede ser mal italiano como he escrito usando un traductor de internet.
Quería agradecerles por publicar Ermione.What una gran producción, el primero en los tiempos modernos.También hay una maravillosa producción de Glyndebourne.
Una vez más gracias.
che meraviglia!!! ero io Astianatte!!! che bello rivedere questo video, mi riporta indietro di 26 anni a quando ne avevo 4 e credevo che la Horne fosse la mia seconda madre:) ho un sacco di ricordi di quell'estate!
Dorian Gray approfitto per salutarti visto che conosco i tuoi due fratelli maggiori: con il più grande ho fatto le elementari e poi il Conservatorio, dove ho conosciuto anche "quello di mezzo". Ho da sempre saputo che Astianatte eri tu ma non ci siamo mai conosciuti. Se sei curioso di sapere chi sono, prova a chiedere al fratello primogenito, che proprio in questi giorni sta organizzando una cena delle elementari... :-)
What a great memory you have...so you were only 4 years old when you played Astianatte?
yes I was only 4;) I was afraid of Caballe because they told me that she wanted me dead in the opera so she gave me a box of chocolates and I accept her as friend;))) and Marylin Horne gave me a box of lemon candies:))) I was a fortunate child;)
Dorian Gray y
Un elenco de lujo
Ha un senso ascoltare questa opera solo per i mostri sacri riuniti in questa occasione ma oggi non ci sono cantanti a questo livello per riproporla.
NO!
Rockwell Blake and Chris Merrit 🤩🤩🤩
Caballe is exquisite!!
É a primeira vez que assisto a esta ópera.
As this 1987 production,from Pesaro,was the first in modern times,it might be difficult to find an English libretto.I have looked on the net for you,but cannot see it anywhere.The nearest is a good plot synopsis.Go to Wikipedia and enter Ermione and you will be able to read the plot,which has to be better than nothing?
I think we owe signorinaermione2 a big Thank You.
Blake é un vera stella del belcanto italiano
J’ai toujours considéré Caballé au sommet de l’histoire de l’opéra, mais à Ermione, il ne chantait plus.
Je l’ai vue à Ermione en avril 1988 à Madrid et c’était vraiment dommage. Aujourd’hui, je vis subjugué par tout ce qu’il a chanté avant, mais déjà en 1986, dans un récital au Teatro Colón de Buenos Aires avec accompagnement de piano, sa présence était testimoniale mais décadente.
Bellissima esecuzione!
Класс
Hello everybody! I have just listened to Racine's Andromaque and I am eager to watch this Rossini's masterpiece, but there is a problem, I can't understand the words. Would you be so kind, signorinaermione2, and post the English subtitles? Please, from the bottom of my heart. :) Consider it a Christmas present for a Romanian teenager.
CAPOLAVORO - SUPERLATIVA EDIZIONE - RESTERA' NELLA STORIA DELLE INTERPRETAZIONI ROSSINIANE COME STELLA FULGIDISSIMA
Capolavoro per tutti queste grandisimi rosiani , ma que faceva qui a Pesaro al Rossini festival la signora Caballe ????
Pero fue un desastre esa función! Para algunos fue la peor función del Festival de Pesaro de todos los tiempos.
El director llegó a Pesaro sin haber visto nunca la partitura, pensando que con los ensayos era suficiente para aprenderla. Pero ahí se dió cuenta que no era una obra nada fácil.
A Caballe la abuchearon no tanto por su estado vocal.
Fue por haber cambiado, adaptado y simplificado totalmente la partitura. Tanto que en un momento pide una partitura y se pone a discutir con el público, señalando la partitura y diciendo que estaba cantando lo que estaba escrito. (Algo que no era cierto)
It is normal for singers to make small adjustments to help them negotiate passages they find particularly difficult (nineteenth-century musicians called these adjustments puntature). It is quite another thing for a singer to omit or rewrite to the point of unintelligibility large portions of a score. At the climax of Ermione’s “gran scena,” she dispatches the love-sick Oreste to kill Pirro at the altar, where he is exchanging marriage vows with Andromaca. Caballé mortally weakened Rossini’s melodies by radically simplifying them, then by altering the notes at the climactic moment of the melodic line. Why? Simply, as she told me directly, because she found it harder to sing the phrase Rossini had written. In Ermione’s final duet with Oreste, where she berates the confused son of Agamemnon for not understanding that she continues to love the man he has murdered, Ermione is supposed to repeat obsessively, six times, a pattern of four sixteenth notes (with the text “hide yourself from the eyes of living beings, murderer, traitor”); then she must leap fortissimo to a high b♭, one of the highest notes she is asked to sing anywhere in the opera, precisely on the powerful syllable “[tradi]-tor” [traitor]. Caballé reduced the passage to one fleeting four-note pattern, then let loose with a resounding high b♭, as if that were all her fans had come to hear. Having decimated the musical content of the part, she presented herself before the booing public with a copy of the score, pointing to it as if to assert, “I have sung what Rossini wrote.”
Does anyone have information about the curtain?
Fra il 1817 e il 1818 il milanese Angelo Monticelli esegue - secondo i canoni della pittura neoclassica - il sipario dipinto raffigurante la Fonte di Ippocrene.
forzavis Hello and thank you for responding to my request about the beautiful painting (curtain) in Rossini”s great Opera “Ermione” , I know this reply is quite late, I did want to take time and thank you . The information you provided was very helpful to me. Do you know if there is a production of Ermione with English subtitles ? I speak/understand little Italian .Thank You.
@@williamrick2970 ua-cam.com/video/U4WpQlr5ne4/v-deo.html
Apologies I am not sure what your native language is?
Is this really a dress rehearsal? So much public....full house?
yes it was;) there was too much public that wanted to see this opera
@@1511doriangray yes this can be in the effort to please -- we are at rehearsal too...anything can be of the occasion to be stopped, interrupted, etc...
Sólo un gente maleducada y desconsiderada puede abuchear a una grande como Caballe. Todo cantante puede tener una mala noche. Con no aplaudir alcanza. En el Colón dos mezzos italianas famosas y en declive hicieron una Amneris inaudible en dos temporadas consecutivas, y el público no sólo no las abucheó sino que aplaudió (poco) por su trayectoria. Eso es educación. Los abucheos tienen que ver con creerse arbitros de la lírica. Miserables.
No se si quieres decir que los Argentinos son educados y no abuchean y los Italianos no...Maria Callas en 1951 fue abucheada en el Colòn, y cantò una maravillosa función de Tosca preservada en grabacion live. La nacionalidad de el publico no tiene nada que ver. La Caballe sobretodo en esa epoca conclusiva de su carrera era siempre mal preparada en su rol, me han tocado varias, y esta es la principal razón de los abucheos. No estoy de acuerdo con abuchear, a menos que sea de verdad algo desastroso y no por salud. La salud de la Caballe en esa epoca no tiene nada que ver, cantaba mal y ya. Ademas el publico italiano tiene fama por ser bastante "conocedor" y cantar ahi puede significar estar expuesto a criticas a veces muy duras, pero asi es...
La Caballe' non era mai preparata. Il pianto finale era il pianto del coccodrillo. Un'artista superpagata non fa' simili figure.
@@stefanodepeppo Maria Callas solo cantó en el Colon en 1949 Turandot, Norma y Aída. No fue abucheada y jamás cantó Tosca.
@@lydiaguarro si, la Tosca ,Callas -Poggi ,fu cantata a Rio '51,non a Colon
@@stefanodepeppo Callas canto en el Teatro Colon unicamente en 1949 las siguientes operas: "TURANDOT", "AIDA" y "NORMA", nunca "TOSCA."
Y tampoco fue aucheada en ninguna de las tres. No se de donde habra sacado esa (des)informacion porque todo eso ES FALSO.
Sorry... I dont speech english so well to traslate this opera :((((
Superb performance of a neglected masterpiece which I saw in Glyndebourne back in 1996 and will enjoy again, the gods willing, at the San Carlo di Napoli this coming November for the work's bicentennary. The intensity of the final scene is overwhelming and contains some of Rossini's very best music. Excellent classical staging too. Horne, Merritt and Blake are offering a masterclass in dramatic Rossinian singing. I have always particularly admired Rockwell Blake and he easily eclipses the other singers here. The instrument is somewhat metallic but his vocal virtuosity and passionate involvement are breathtaking. If only Caballé were not singing Ermione...too old for this, she shows total disrespect for the score, the role and her colleagues, taking unforgivable liberties with the tempo, muddling cadenzas and coloratura, eating words, rounding off phrases to the nearest vowel, screaming the higher notes. Do we need to discuss her ZERO stage acting, here limited to two hand gestures? She is even worse, if at all humanly possible, in Madrid 1988. Vergogna!
Philip, did you come to San Carlo? I was there for the premiere, and was disappointed... what about your impression?
@@b13ne Yes, I was there. And I was let down. Stupid inert production confused between classicism and modernism. Angela Meade impressive to hear in Act 2 but poor stage presence and she is so huge any kind of movement looks ridiculous. Siragusa had some good moments as Oreste but the real disaster was John Irvin as Pirro, tiny little voice barely audible, struggling to sing the notes and clumsy deportment in an atrocious blue suit. What a pity. Hey, it was a fiasco in 1819 and again a fiasco in 2019! I would have so much liked to be present at the 1987 Pesaro production...
@@philipc67 I couldn't agree more. Pirro was a disaster and in one of the performances he had a bad reaction against the audience booing him. Apart that it was a lost occasion. This year's Maometto II (october) is still in the clouds because of Corona Virus restrictions.
What the stuff is wrong with the conducting :(
Has anyone spotted Merritt”s spoken mistake in the first act ?
No, not me, but the costumes of the principles don't match the chorus who seem to be from the Napoleonic Period.
What gives ?
Why was Montsy so pissed with the lead man, if looks could kill. I have never seen her look so cross and unsmiling
Where she makes that? Minute please
At the curtain call she hug ms horn and throws a terrible glare at the leading man. Also she is not her usual beautiful smiley self.
He peed onstage. He had to.
I realize Caballe is an icon and is for some above criticism. But the commentators who think this is a marvelous production and performance clearly don’t know or have never heard this opera….
Well I attended four performances of this opera on stage ( this one in Pesaro included) and several more on recordings. It is difficoult to say which is the best edition but surely the trio of tenors of this edition remains unsurpassed Marilyn Horne was fantastic and the mise en scene of Pier Luigi Pizzi is music itself. Monserrat Caballe in those years had several health problems and she often erased performances or reharsals and surely was nor 100%. On the other hand I should say that the recording quality of this video is very very poor and what remains is only a pale shadow of what has been the representation on stage.
leo lo del abucheo a Caballe y el Colon. Lamentablemente debo contar a la compatriota una verguenza de nuestro primero coliseo. el inmenso Richard Tucker llego anciano al Colon. Canto Rigoletto. Hizo bien "la donna è mobile" la primera vez. cuando la canta en off el agudo fue malo. El cutlo publico de Bueos Aires lo silbo. senti una gran verguenza. (la misma que siento cuando se embandera el nacionalismo para defender o atacar cualquier cosa
Anciano NO: tenia 47 cuando hizo su debut en el Colon (1960)
A los 47 años nadie es anciano. Mentecato.
TUTTO MERAVIGLIOSO!REGIA, PIU CHE STUPENDO. CHRISS MERRITT E ROCKWELL BLAKE PERFETTI, MARILYN HORNE BELLA, VOCE UNICA PER ETERNITA BELL PIU NON SI PUO DIRE. MONSERRAT CABALLE UNICA ORRENDA GRASSACOME SEMPRE, ERMIONE DOVEVA ESSERE BELLISSIMA,-FIGLIA DI ELENA- SOTTO 20 ANNI MOLTO. SUA VOCE DISTRUGGE LA MUSIICA PIU STUPEDA DI ROSSINI PIU DIVINO.. AÑNA CATHERINA ANTONACCI VERA ERMINIO NICA, ANCHE IN VESTITI NON EPOCA(ALTRA ORRORE SONIA GANASSI, MA MONSERRET CABBALE SUPERA IN ORRORE VOCE INESETENTA DA ETA, DISTRUTTA TUTTO , VEDERE LEI VOLTA STOMACO ASSOLUTAMENTE!!!!!!!!MARTA BEATRIX DARDAY
Chi fa commenti del genere tiene proprio una cultura del rispetto molto bassa! Vergogna !!!
Y llegamos a los insultos. Bien, de aqui en mas yo mismo hare bocca chiusa. (Que me presento con mi nombre). Chaucito.
Se solo ci fosse stata un'altra protagonista.....una che almeno avesse imparato la parte! O imparato a non "barare"...
Reklame Unterbrechung in Opern geht gar nicht
Direzione mediocre, la Caballe' sfasciat vocale te, e non fa altro che farfugliare le parole, ma mi piacciono poco anche gli altri...
This is terrible. The duet between Merrit and Caballe is a complete mess. What's with the awful staging?
Jesus but Caballe is embarrassing here. Did she even learn it?
Please keep Jesus out of this. It's not his fault. Thank you.
This is terrible. Shame on a once stellar performer (Caballé) for taking the money and turning in a performance this bad. Ok she can throw out an arm and point, but that's about it. Painful.
Horne too is past her best, but at least can sing the notes. Never liked Merritt much, but once again, at least he can sing what's written. Even when he's crooning his way through his big aria just before the first finale.
Blake is the best of a pretty dire bunch, but if I never have to hear htis again it will be too soon.
Luckily the excellent Glynbdebourne version is just a click or two away.
Блин , за*бал эстет !..
One note wrong ,this was a terrible year for montse .,anyone can have a not so good performance .doesn't sound that bad !!!!
@@judyjones2475 "Anyone can have a not so good performance"?? Yeah ok... so people should pay for uvery expensive, btw) tickets for several performances in the hope that a world star will sing decently at at least one of them? Please!
@@kbhprinsesse Montserrat was a wonderful artist ,she would never let anyone down or take money that was not earned. She gave many great performances for charity .If you watch even a few of her many fantastic performances you will realise .Try Herodide ,Tosca ,Boheme etc etc 💗
@@judyjones2475 I am talking about a singer who abused her voice by singing unsuitable parts so its top range got more and more unpleasant and who "cheated" in various ways, for instance by leaving out more and more consonants and singing more and more high notes pianissimo, no matter if that specific effect was appropriate to the dramatic situation or not. It's not about whether she was a "moral person", gave to charity etc. But I don't expect a blind fan to be able to realise that.