Why on earth does the intruder rob Romanticism of open space? Furthermore: Along with shrewdness and sensitivity, Muller´s poems and Schubert´s music contain quite a lot of fortitude. The recipients who resign to the latest of these values deserve to be pitied, rather than anything else.
Honestly, Ian has such a beautifully improbable body. With those almost obscenely long legs and that tiny, tiny waist, he just looks absolutely aetherial. I feel the freedom to say this, since others have already commented on the music and direction.
Bostridge is perfect for this cycle, a young gaunt man on the brink of life who has been cast off in favor of a convenient marriage and it does have a story! This might be inconvenient for the director but it does have a story. Why is the general public so precious with this cycle? It is open to many interpretations. The one I hate is the traditional recital in white tie and tales. Anything rather than that, Bostridge sings and looks the part at the moment but sadly the bloom of youth will fade!
I disagree with this criticism of the director. He did a great job of putting Schubert's great work in the best context to date, so much better than just a singer standing next to a piano. He has produced a video classic here. The two musicians warrant much of the credit but equally do the non-musicians and especially the director.
6:10-6:20 is the most awful thing I've ever seen on film. I feel sick. Non-musicians should NOT stop musicians unless they know how to do it respectfully. So awkward for the pianist...
While it's tempting to pile on and crucify the painful performance of the director David Alden here (a director's proper place is clearly behind the scenes), I found the final production so successful that I'm willing to forgive him. It gave Ian Bostridge a canvas on which he could express Schubert's art in a timely, current way. In the end, the theatrics did serve the music, possibly even more than a straight concert setting would, and that's the value in it.
This "director" is a ridiculous derelict. I feel for Mr. Bostridge and Mr. Drake. When working with someone who is not musical on a musical project one should defer in kind to the musicians during the musical portion. I understand the need for a more subversive imagery but there is a proper and respectful way to go about it.
It's a wonder that humans can communicate at all. Notice how much interrupting there is here as others try to complete a thought. No one is listening to understand. They are just waiting to speak!
I created video log on my channel for this great one. His performance is really fantastic and wonderful interpretation.
Thanks for the sharing!
So moving!
To go off the subject, this such a good example of the American-European dynamic...let's just leave it at that.
Why on earth does the intruder rob Romanticism of open space? Furthermore: Along with shrewdness and sensitivity, Muller´s poems and Schubert´s music contain quite a lot of fortitude. The recipients who resign to the latest of these values deserve to be pitied, rather than anything else.
Whose wife? Kilburn?
Honestly, Ian has such a beautifully improbable body. With those almost obscenely long legs and that tiny, tiny waist, he just looks absolutely aetherial. I feel the freedom to say this, since others have already commented on the music and direction.
+Arnold Bach Which one of us are you calling the creepy skeleton?
Bostridge is perfect for this cycle, a young gaunt man on the brink of life who has been cast off in favor of a convenient marriage and it does have a story! This might be inconvenient for the director but it does have a story. Why is the general public so precious with this cycle? It is open to many interpretations. The one I hate is the traditional recital in white tie and tales. Anything rather than that, Bostridge sings and looks the part at the moment but sadly the bloom of youth will fade!
He didn't do it without respect - but he did it without any expertise in how to do it (having many times seen/heard my mother stop whole orchestras).
I disagree with this criticism of the director. He did a great job of putting Schubert's great work in the best context to date, so much better than just a singer standing next to a piano. He has produced a video classic here. The two musicians warrant much of the credit but equally do the non-musicians and especially the director.
6:10-6:20 is the most awful thing I've ever seen on film. I feel sick. Non-musicians should NOT stop musicians unless they know how to do it respectfully. So awkward for the pianist...
While it's tempting to pile on and crucify the painful performance of the director David Alden here (a director's proper place is clearly behind the scenes), I found the final production so successful that I'm willing to forgive him. It gave Ian Bostridge a canvas on which he could express Schubert's art in a timely, current way. In the end, the theatrics did serve the music, possibly even more than a straight concert setting would, and that's the value in it.
This "director" is a ridiculous derelict. I feel for Mr. Bostridge and Mr. Drake. When working with someone who is not musical on a musical project one should defer in kind to the musicians during the musical portion.
I understand the need for a more subversive imagery but there is a proper and respectful way to go about it.
It's a wonder that humans can communicate at all.
Notice how much interrupting there is here as others try to complete a thought.
No one is listening to understand.
They are just waiting to speak!
Ian
hmmmmm
voiceles wonder
typical necky English tenor...
no emotional content und kein angst...
Oh dear
listen to some Wunderlich