This is a dazzling production & a great occasion for the marvellous Channel Tunnel.. One can't say that very often. I saw "Hamlet" (the play) the other day with the Players doing a silly dance, Horatio wearing sunglasses & with others open necks for the battlements which Hamlet described as "cold". The same thing happened in the otherwise good Thomas Hamlet"! If the roles aren't too high for him I'd like to see Courtis in the more legitimate representations of Sir John Falstaff (Verdi and Nicolai). I'll look for "le Caid".
Ouverture 00:00 ACTE I 1. Introduction 11:59 2. Cavatine 28:11 3. Sérénade 34:21 4. Chœur 42:13 5. Chœur des buveurs 45:02 6. Valse 49:48 7. Final 54:21 ACTE II 8. Entracte 1:09:33 Prière 1:11:30 Cavatine 1:17:15 9. Trio 1:23:16 10. Romance 1:36:42 11. Duo 1:44:55 12. Trio 1:55:12 ACTE III 13. Air 2:10:00 14. Duo 2:19:18 15. Boléro 2:31:37 16. Récitatif et Chœur 2:36:15 17. Pantomime et Ballets 2:38:37 18. Final A. Chœur 2:52:49 B. Sextuor avec chœur 2:59:32 C. Malédiction 3:05:49 D. Morceau d'ensemble 3:10:24 ACTE IV 19. Scène et Duo 3:13:22 20. Duettino 3:25:29 21. Duo 3:33:31 22. Air 3:46:09 ACTE V 23. Chœur 3:58:59 24. Marche funèbre 4:04:46 25. Final 4:08:15
Una bellissima esecuzione, ma è un vero peccato che ci siano molti tagli, anche nel tragico finale. Devo ammettere che Domingo da giovane era bravo. Ha eseguito l'aria "Oh paradis" con Si bemolle sovracuto, se non sbaglio, in maniera davvero stupefacente.👏👏👏😢💔
A parte de los cortes de la propia representación, desgraciadamente TVE no grabó todo o se perdió. Falta una parte del acto segundo y todo el tercero :( Aquí la grabación "completa" de la radio: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-tPA72e-LO8w.html
Not sure if anyone else has already posted about this but the familiar "Italian version" of this opera is a combination of the original music by Luigi Cherubini (1760-1842) and recitatives composed much later by Ferdinand Lachner (1856-1910). Moreover, I believe Lachner composed his linking recitatives to a German text, hence some peculiar emphases in the Italian translation. While performances of the original French version with its extensive spoken dialogue will for many reasons always be a rarity, it's good for once to be able to appreciate Cherubini's score without the Romantic accretions.
It’s not just a combo, parts are-orchestrated, cut, and in some cases translated incorrectly. Whoever did the Italian version basically just freely adapts the text. It’s so much better in its original form.
@@petercallahan7321 Thanks for the detailed commentary! I don't think it's just bias on my part -- French is my "second" language -- that makes me prefer the original. (I feel the same about Verdi's Don Carlos, both versions of which he set very carefully to a French libretto, though the revised 4-act version had its premiere in Italian translation.)
Thank you very much for this. How disappointed I was by the Met's presentation of Don Carlos... it was literally just the Modena version with French text, there was nothing artistically enlightening about the project except to say "Look! They're singing in French!" Very little original music. No L'hiver est lang, no ballet... disappointment.
Wonderful performance! With the return of Le Prophete (aix) and Vestale (Paris), I really hope for a great revival of Grand Opera.. Meyerbeer, Auber, Halevy, Spontini, Sadly Meyerbeer was forgotten, as May 2nd "celebrates" his 160 years of death :/. Not even a gala concert. Not even the 200 years of Crociato. Hope next year we have a 160 years of Africaine somewhere. 🙏
@@giacomomeyerbeersohn Pity... I'm still hoping for Oropesa singing Isabelle in a staged Robert someday, though. She sang her cavatina recently in some venues such as Scala.
ACTE I 1. Ouverture et Introduction A. Ouverture 00:00 B. Chœur 05:00 C. Morceau d'ensemble 07:43 et Entrée de Raoul 10:22 D. Orgie 12:37 2. Scène 15:50 et Romance 17:26 / 19:41 3. Récitatif 26:02 et Choral 28:11 4. Scène 30:08 et Chanson huguenote 31:37 5. Morceau d'ensemble 37:27 6. Final A. Chœur 43:34 B. Cavatine du page 45:02 C. Suite du final 48:36 D. Stretta 52:12 ACTE II 7. Entracte 55:38 et Air 58:07 8. Chœur des baigneuses 1:11:45 Rondeau du page 1:17:20 9. Scène du bandeau 1:22:45 10. Duo 1:25:52 11. Récitatif 1:35:40 et Entrée de la cour 1:36:59 12. Final A. Serment 1:39:59 B. Scène 1:43:43 C. Stretta 1:44:35 ACTE III 13. Entracte et Chœur 1:49:09 14. A. Complets militaires des soldats huguenots 1:50:41 B. Litanies 1:53:15 C. Morceau d'ensemble 1:55:01 15. Ronde bohémienne 1:56:03 16. Danse bohémienne 1:57:15 17. Couvre-feu 2:06:26 Choral de Marcel 2:09:18 18. Scène 2:14:59 et Duo 2:17:27 19. Septuor du duel 2:31:41 20. Chœur de la dispute 2:38:19 21. Final 2:43:01 Le cortège de noce 2:55:10 ACTE IV 22. Entracte et Récitatif 2:59:55 Romance et Scène 3:01:40 23. Conjuration 3:08:46 et Bénédiction des poignards 3:19:20 24. Grand duo 3:26:03 Strette 3:37:43 ACTE V 25. Entracte et Ballet 3:42:56 26. Récitatif 3:45:26 et Air 3:46:05 27. Scène 3:50:25 et Grand trio A. Interrogatoire 3:58:52 B. Chœur des meurtriers 4:02:57 C. Vision 4:04:01 28. Scène finale 4:07:53
Une production vraiment délicieuse, même avec une vidéo de mauvaise qualité. nous avons vraiment aimé regarder et écouter cela. Merci de l'avoir partagé avec nous, @Giacomo Meyerbeer Sohn 🙂
Això es un d'aquells moments que es recorden per tota la vida. No cal afegir res més, nomes cal escoltar. Quant re-escolto aquests fragments comprenc perquè ara tot em sembla descafeïnat.
Started watching at Medee's entrance and was blown away at the quality of acting from opera singer.. then i realized the double cast.. the actress playing Medee truly is stunning though.. wow
La mélodie du ténor est très bizarre, on dirait que Meyerbeer a dû la reprendre et la peaufiner laborieusement... Les développements de la version complète sont excellents. Du pur Meyerbeer. Ça n'en finit pas, ça module dans tous les sens, c'est excitant en diable, merci !
