May 28, 2012

Giulio Cesare online !!!

ARTE shows it still.

22 comments:

  1. Bartoli was great, but the others no...! http://www.ilteneromomento.com/giulio-cesare-bartoli-salzburg/

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  2. I couldn't agree less

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  3. Bartoli was great indeed and I loved Jaroussky and some of the others. As for Andreas Scholl: I think it's a difficult part for a counter tenor anyway. One would have wished for more dramatic emphasis or the ability to project more. I am sorry to say Scholl didn't toch me.

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  4. Bartoli was really wonderful.
    We are so used to her that we start to see flaws in her and notice the things that aren't perfect.

    But listening to Se pietà and Piangerò we are reminded that she does things no other singer in the world can do and we hear these arias in a way we have not heard before.

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  5. Cecilia, of course, was the queen of that night. But don't forget her double role in that festival, so the stress on her must have been great. Still, listening to her is Händel heaven. As for Se pieta and Piangero, I think, it didn't leave any eye dry both evenings.
    Scholl is always a wooden actor, but his singing was pretty good. He never touched me, but never did before either.
    Cornelia/Sesto were a wonderful and greatly touching couple.

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  6. Cecilia was 'gigante', 'unica' and much more, that's for sure. Actually the whole crew was - only Scholl was hard to be heard in the back rows. But when I listen to him on the recording, his singing was expressive and fine.

    Jaroussky was impressing, his development from a boy to a man was conclusive and the duets with von Otter very touching. For me he is a discovery!

    I didn't like the set, it was confusing and distracted me from the music, as one had to wonder all the time, what this or that requisite was for. It seemed to me that they used any idea they had. And to me, the sexual hints were unnecessary, it was crude and polluted the music. I must admit that it was not taken out of thin air, but it's just not my taste.

    All in all it was a pure joy of music, full of enchantment, unforgetable!

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  7. The first time I listen to "Giulio Cesare" (Arte). So far associated only with the "Da Tempeste." I must say that is impressive! Interpretation Leiser and Courier is bold and adapted to our times.Different from the traditional, baroque opera vision.Sometimes surprises(as "V'adoro pupille" maintained in a bit cheesy, cabaret atmosphere with Cleopatra-Virtue in ostrich feathers, sitting on a rocket. Feminine charm with " the claw").Sometimes it can also shock(Tolomeusz performing on the stage of self-abuse).
    Can amaze vocal and acting skills:
    "Son nata a lagrimar"- ideal consonance of two wonderful voices,
    "Piangero"-suffering and despair made ​​only (up!) with voice,because we do not see facial expressions.
    It makes a huge impression and I listen to the lump in my throat.

    Surprise, shock, amaze, arouse emotions and controversy.I think it was the intention of the production...

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  8. Yes,I think they succeeded in that. Looking back it feels, like they wanted to try out the staging possibilities as much as the Salzburg audience. Add as many movie quotes as possible.

    I would have liked to have some of the staging ideas of the former Zürich Giulio: V'adoro pupille or Se pieta Di me non senti and cut the Silence of the lambs scene with Tolomeo.
    I did like the way, they formed the characters though and don't mind (but not prefer) the adaptation to pur time, the sex or the violence .......
    ...in the end the sublime music, cast and orchestra gave the directors no chance to actually destroy the whole production.

    Looking at the recording I can only applaud the people in charge for their great work, editing and the overall quality of the video.

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  9. The orchestra,yes!So, do not forget the superb musicians of Il Giardino Armonico! Is it only in "Giulio Cesare" is divided into two separate ensembles(muse of Parnassus)?

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  10. Klaus, they put the video off, but one can still find it on arte, Look at this, hahaha. :))

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  11. Unfortunately I (as many other people who were there) hated the production, It's a shame Cecilia agreed to this type of tasteless production, Cornelia putting her head inside a poorly made plastic crocodile after singing a touching song mourning the death of her husband, what is that supposed to mean? Turning an opera seria into some type of poor taste comedy is not my cup of tea really. There were many boos at the end, including my own,who came all the way from Brazil to see this rubbish (yes, I'm a great Cecilia fan, but that was not enough for me to swallow this awful productin)

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  12. Marcos, I think that you can not take some things literally. In this production are very important symbols.Krokodyl is a symbol of death (Cornelia wants to die in despair; Tolomeo wants to destroy Cleopatra)

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  13. This comment has been removed by the author.

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  14. I share the opinion expressed by Marcos.
    Symbols do mean a lot — but only if they are used wisely. All their meaning vanishes when they are inserted in such a mishmash in order “just to be there”.

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  15. It’s a pity that Cecilia, who is endowed with all the incomparable talents we know, accepted such an ugly and stupid production, specially in Salzburg, when one knows how beautiful is the music of Handel and what beauty might have been that of Cleopatra. I shed tears not so much because of the arias, but because of all the mess which was made out of that! Fortunately and hopefully, in Versailles soon, Cecilia is going to be CECILIA again.

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  16. It's quite clear that this production by Leiser/Courier was exactly what she wanted. She was/is the artistic director. And this means: she is not the victim . She BOUGHT this.If she had disagreed she would have had ways to alter things.

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  17. I agree, as artistic director, she could have denied this production.
    Great, that finally, we have some discussion again in this forum. Go on -:) !!!

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  18. Well, to me as a german, used to extreme and quite ugly performances in theatre and opera it is quite astonishing that this production made such an impact like surprise, shock and amazement.
    Unfortunatly the Regietheater (directors theatre) has botchered many productions because of too much emphasis on scandal and shock.
    To me the Cesare was quite mild and a little boring.
    I am always glad when people are not nacked on stage covered in blood and meat which I've seen too much.

    I just think in this Cesare prod. it was a little difficult to concentrate on the music and a lot of times I had my eyes closed (in front of the screen at home).
    But a few things I really liked:
    For example Piangero with a bag over Cecilas head was great: it was thus a moment of stillness and concentration and one was really focused on the music and singing.
    And I agree: Cecilia clearly agrees with Leiser/Courier and as in every artistic endeavor sometimes you suceed more, sometimes less.

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  19. Rain's words make sense.

    I hope that the directors will consider the next year's opera more «sacred» than «Cesare».

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  20. J'ai détesté cette production qui a pollué la musique et desservi les chanteurs.Pourquoi vouloir choquer absolument ? Cécilia était magnifique, c'est incontestable,la distribution de haut niveau, mais tour au long de la soirée, je me suis demandée ce qui l'avait poussée à accepter cette mise en scène ? Haendel méritait mieux.

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  21. Translated excerpts from a discussion at the «Forum Klassika» (Russia)

    All these filthy clichés — a la Egypt and Cleo. Even if it was intended to be so, still the realisation was too much of a razliulì-malìna (untranslatable, means clutter, mess). Yet Cecilia managed to hold out, and her party was good enough.

    (About Norma in 2013): Well, if they will invite this extravagant couple to stage [the opera], the subject of guts will be covered entirely.

    Considering the vocal <…> one may forgive rubbish of the production (although it was a bit «too much» here).

    everything is to the point here, and with quite a sharp message.

    The tempos set by the conductor sometimes seemed strange. Sometimes at a gallop, sometimes funeral.

    There were too few boos for the directors. The protests of the audience had appreciably melted away by the end of the performance. Thanks to the excellent vocal of the singers.

    The overture and the first chorus were sort of watery; it's well that Il giardino warmed up after that.

    Mme Bartoli plays with public with her sotto voce's and virtuosic breathe, she is of course the master and the prima donna. But monsieur Jaroussky is beyond comparison, one can't deny it.

    Scholl simply stroke down with all this imbecility. Does anyone think it has something in common with Julius? And his little voice, the voice doesn't sound, so smooth as it is, exact, — but no sound, as if he was singing from behind a curtain.
    Or take Cleopatra. A very dramatic figure. It's written that she, despite being good-looking, didn't dazzle by her beauty, and noone could resist her immense charm and intellect. And here it's all so easy: people say «you can't oppose a crowbar» [a Russian proverb meaning you can't do anything about brute force].
    <…> and what do we see? Some insincere grimaces between supposedly beloved, no magnetism. Strictly speaking neither Cesar, nor Cleopatra love each other, and why should they?..

    The style isn't preserved. <…> Torn pieces and fragments of quotations.

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  22. Anonymous, thank you for taking your time to comment on what I said. Ok,I agree things should not be taken literally, Ok that the crocodile is the symbol of death and that Cornelia understandingly wants to kill herself, but the crocodile was so ridiculously fake and poorly made that many people in the audience laughed, it truly sounded more like a bad taste joke than something symbolic... anyway... And I agree Cecilia is responsible for this production, she just thought it was nice, otherwise she wouldn't have accepted it, after all she was the artistic director. My only consolation is that the production is getting basically the same response in all foruns I've checked. Later in my vacations I had the change of seeing beautiful opera productions in Vienna, Prague and Budapest, which compensated for what I had to endure in Salzburg... best regards

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