Magnifique ! Le duo de charme russe Peretyatko/Korchak envoûte l'Opéra de Vienne sans oublier notre mezzo- soprano nationale G.Arquez. Superbe production avec une mise en scène originale bien dans le ton du chef d'oeuvre de J. Offenbach. Et quelle musique ! Une grande réussite. Bravo(s) de France.
A marvellous production. I don't really like all the cuts in the Choudens edition, but here I adore the costumes and sets and acting and staging and singing.
The end of Kleinzach's aria with Korchak ends a bit differently than when it sings Domingo. It sims like Korchaks adds something that isn't in the singing of Domingo. Does anibody knows what is correct. I love Korchak as well as Domingo bat that thing bamboozled me.😢
Is there any site where this can be watched with English subtitles? I can't find it for sale online, and I'm not sure whether it is even available for purchase. Anyone know? Thank you-
No there is no subtitles because this is not a commercial video, just a direct caption from the Vienna opera. My best suggestion is that you find on internet a copy of the libretto and follow the English translation.
And the Vienna Opera doesn't sell a dvd of it? It's not important to me, as I know this opera well - but I'm trying to recommend a good production to some friends, and I don't think they would have the time /patience to use the librettto. Guess I'll look for another production. This is very good though, it's a pity,,, Thanks for replying, though!
What happened to ”Vois sous l’archet fremissant. “.!?!?! Every single Hoffmann performance must have that otherwise Nicklausse has nothing to do in the Antonia act; this aria is in every mezzo canon; no mezzo should be allowed out of the conservatory until they sing this piece and La Seguidilla perfectly, I say!
Unfortunately this beautiful aria is frequently omitted. It had been forgotten until it was discovered again by musicologist Oeser almost a hundred years after the first public performance in 1881. One mezzo singer said she would not sing the role unless she could sing this aria.
Offenbach made the decision to discard ”Vois sous l’archet fremissant. “ fairly early in the composition process, as it was not included in the concert of excerpts performed in his home (when he was looking for a new venue for the opera's premiere) nor is it in Offenbach's final MS or in the libretto submitted to the Paris censors shortly before the work's premiere. I have studied, written about, published much on the importance of following Offenbach's final decisions on the opera (contrary to what is usually written, Offenbach completed the MS up to and including the finale of the Giulietta Act, -Act IV in the MS; the only act he left incomplete was Act V - the epilogue). So, then, I feel like a hypocrite when I argue for the inclusion of the so-called "violin aria," but I agree with you and I do believe it should be left in. Aside from the beauty of the aria and the fact that it provides something for the mezzo playing Nicklausse/Muse to do in the Antonia act (I've seen performances where the violin aria has stopped the show), it is much in keeping with E.T.A. Hoffmann's authorial and compositional concepts of musical aesthetics and his theories of the relationship between music and transcendentalism. I assume that Offenbach chose to cut it in order to shorten the act (even in the Choudens edition the Antonia act is the longest in the opera) and perhaps because he believed that it held up the action.
@@charlesrichards3323 that is amazing! Can I read your your studies somewhere? I would LOVE to know more about this opera, but can't really find the detailed information. Or, if you don't mind answering a couple of questions, can I write you an email or text you on Facebook and ask you about couple of arias?
@@charlesrichards3323 "shorten the act"? Antonia is not long enough, this entire Opera is not long enough. I could write pages and pages on this most wonderful Opera which I have seen live 6 times already and I can't wait to see it again.
N'y a t'il plus de basses ou de baryton basses, capables de vraiment chanter les méchants, qu'on nous impose des voix de baryton au timbre laid qui éructent les rôles plutôt que de les chanter?
En toute honnêteté, les quatre méchants sont probablement l'un des rôles les plus difficiles du répertoire français. Si une basse la chante, souvent les notes aiguës perdent leur excitation. Si c'est un baryton, le rôle perd sa gravité. Je les chante en ce moment et je sens personnellement que je ne peux pas leur donner le mal pur dont ils ont besoin, alors j'adopte l'approche plus courante du «chuchotement satanique à l'oreille». C'est juste dur comme de la merde, et avec de bonnes basses et barytons en pénurie ou simplement attirés par l'autre répertoire, ça devient une vraie salope à lancer!
Je vous conseille a ecouter le baryton de l'enrégistrement Shicoff (Oeser). Il vient d'enrégistrer le role-titre de l'opéra-comique du jeune Massenet @@kiwi_tenor
I am three years late, but this is the definitive manuscript and history of Hoffmann: The Real Tales of Hoffmann: Origin, History, and Restoration of an Operatic Masterpiece Paperback - June 8, 2017 by Vincent Giroud (Author), Michael Kaye (Author). I would take the many other comments here, including the so-called experts, with a grain of salt.
Magnifique ! Le duo de charme russe Peretyatko/Korchak envoûte l'Opéra de Vienne sans oublier notre mezzo- soprano nationale G.Arquez. Superbe production avec une mise en scène originale bien dans le ton du chef d'oeuvre de J. Offenbach. Et quelle musique ! Une grande réussite. Bravo(s) de France.
Fantastic, loved it, especially Dmitry Korchak as Hoffman
A marvellous production. I don't really like all the cuts in the Choudens edition, but here I adore the costumes and sets and acting and staging and singing.
There was no cut at all. It’s a mix of the Choudens and Alkor, so in fact there is more stuff that the choudens alone
Watched this few times it's that good. Bravo.
Bellissima produzione. Eccellenti Korchak come Hoffmann, e Nicklausse. Scolastica Peretyatko. Peccato solo per i tagli dall' edizione Choudens!
Só falta legenda em português. Lindo, lindo.
The names of all the cast ?
The end of Kleinzach's aria with Korchak ends a bit differently than when it sings Domingo. It sims like Korchaks adds something that isn't in the singing of Domingo. Does anibody knows what is correct.
I love Korchak as well as Domingo bat that thing bamboozled me.😢
Para superar la versión de Domingo se necesita algo más que esto. Perdón !!!
Is there any site where this can be watched with English subtitles? I can't find it for sale online, and I'm not sure whether it is even available for purchase. Anyone know? Thank you-
No there is no subtitles because this is not a commercial video, just a direct caption from the Vienna opera. My best suggestion is that you find on internet a copy of the libretto and follow the English translation.
And the Vienna Opera doesn't sell a dvd of it? It's not important to me, as I know this opera well - but I'm trying to recommend a good production to some friends, and I don't think they would have the time /patience to use the librettto. Guess I'll look for another production. This is very good though, it's a pity,,, Thanks for replying, though!
Só falta legenda.
What happened to ”Vois sous l’archet fremissant. “.!?!?! Every single Hoffmann performance must have that otherwise Nicklausse has nothing to do in the Antonia act; this aria is in every mezzo canon; no mezzo should be allowed out of the conservatory until they sing this piece and La Seguidilla perfectly, I say!
I'm getting flashbacks to the 1951 film, where Nicklausse spends several scenes just... kind of posing in the background.
Unfortunately this beautiful aria is frequently omitted. It had been forgotten until it was discovered again by musicologist Oeser almost a hundred years after the first public performance in 1881. One mezzo singer said she would not sing the role unless she could sing this aria.
Offenbach made the decision to discard ”Vois sous l’archet fremissant. “ fairly early in the composition process, as it was not included in the concert of excerpts performed in his home (when he was looking for a new venue for the opera's premiere) nor is it in Offenbach's final MS or in the libretto submitted to the Paris censors shortly before the work's premiere. I have studied, written about, published much on the importance of following Offenbach's final decisions on the opera (contrary to what is usually written, Offenbach completed the MS up to and including the finale of the Giulietta Act, -Act IV in the MS; the only act he left incomplete was Act V - the epilogue). So, then, I feel like a hypocrite when I argue for the inclusion of the so-called "violin aria," but I agree with you and I do believe it should be left in. Aside from the beauty of the aria and the fact that it provides something for the mezzo playing Nicklausse/Muse to do in the Antonia act (I've seen performances where the violin aria has stopped the show), it is much in keeping with E.T.A. Hoffmann's authorial and compositional concepts of musical aesthetics and his theories of the relationship between music and transcendentalism. I assume that Offenbach chose to cut it in order to shorten the act (even in the Choudens edition the Antonia act is the longest in the opera) and perhaps because he believed that it held up the action.
@@charlesrichards3323 that is amazing! Can I read your your studies somewhere? I would LOVE to know more about this opera, but can't really find the detailed information. Or, if you don't mind answering a couple of questions, can I write you an email or text you on Facebook and ask you about couple of arias?
@@charlesrichards3323 "shorten the act"? Antonia is not long enough, this entire Opera is not long enough. I could write pages and pages on this most wonderful Opera which I have seen live 6 times already and I can't wait to see it again.
2:09:01
N'y a t'il plus de basses ou de baryton basses, capables de vraiment chanter les méchants, qu'on nous impose des voix de baryton au timbre laid qui éructent les rôles plutôt que de les chanter?
En toute honnêteté, les quatre méchants sont probablement l'un des rôles les plus difficiles du répertoire français. Si une basse la chante, souvent les notes aiguës perdent leur excitation. Si c'est un baryton, le rôle perd sa gravité. Je les chante en ce moment et je sens personnellement que je ne peux pas leur donner le mal pur dont ils ont besoin, alors j'adopte l'approche plus courante du «chuchotement satanique à l'oreille». C'est juste dur comme de la merde, et avec de bonnes basses et barytons en pénurie ou simplement attirés par l'autre répertoire, ça devient une vraie salope à lancer!
Je vous conseille a ecouter le baryton de l'enrégistrement Shicoff (Oeser). Il vient d'enrégistrer le role-titre de l'opéra-comique du jeune Massenet @@kiwi_tenor
42:43
49:21
Why such a darlk set-up???
I am three years late, but this is the definitive manuscript and history of Hoffmann: The Real Tales of Hoffmann: Origin, History, and Restoration of an Operatic Masterpiece Paperback - June 8, 2017 by Vincent Giroud (Author), Michael Kaye (Author). I would take the many other comments here, including the so-called experts, with a grain of salt.
Just listen to a few moments with the women in the bass. Labored, behind the best, unstable pitch center and no line or Legato. Jesus fucking Christ
The conductor is awful. The Chorus was on the edge of breaking out of tempi. The whole thing was top fast and histeric. Terrible
слабенько
poor acoustics! hated the design!
👎👎👎👎👎