"Tout ressent l'amour sur terre, Tout s'anime et se complaît. Seul mon coeur devrait se taire Parce qu'on me trouve laid. Une voix toujours me clame : N'es-tu pas de chair et d'os ? Si tu vis sans une femme C'est l'enfer, Monostatos. Une fois pendant ma vie Etre aimé je veux me voir. Chère lune ne m'envie Si tu me trouves trop noir. Et tandis que je l'embrasse, Prends un air moins soucieux. Va, cela ne m'embarrasse Tu pourras fermer les yeux."
So the 'Moor' Monostatos (according to Schikaneder's libretto) isn't a Moor any more (according to Mr. Eric Biegel's understanding of 'political correctness, since today 'Blackmoor' costunes appear no longer to be acceptable after the public commotion caused by the Blackmore brooch Princess of Kent was wearing at a dinner with the presence of Megham Markle In contrast of this 'rewriting opera librettos' (the text refers explicitly to 'schwarz = black and weiss = white!! - Here's a sample: Und ich soll die Liebe meiden, weil ein Schwarzer hässlich (should I shun love because a Black man is ugly?) Lieber, guter Mond - vergebe . Eine Weisse nahm mich ein! - (A white woman lured me). Weiss ist schön! (White is beautiful)- So have a look at the hilarious costume of the Moor Monostatos in a Paris 2001 rendition of the Zauberflöte. I really had a good laugh, since the very funny custume suited perfectly the role of the 'lascivious moor'. But the tenor Olivier Trommelschlager could not paint his face black. As for the voice of the tenor (who incidentally makes a good how of his messsenger role in Aida). Have a look for yourself: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-x9nyPrJy5ek.html When Monostatos could not be identified as 'Moor', the lyrics of his aria are contradicting the white face of the singer! I wil hear Mr. Trommelslchlage on 3rd November 2019 in a matiné at the Eglise de Gensac In France where he will sing some Verdi arias. I hope he'll also do justice to Verdi as he did here to Mozart, even so Verdi's demands upon a tenor's voice are to be considered to be more 'severe'.
“political correctness” is a pestering disease, now contaminating the arts everywhere. A libretto, written the the 18th century, is based on the socio-cultural understanding of that time.
@@radiumdude Yes, it is unfortunate that 'political correctness' is continuing to destroy historic monuments, now especially statues of Generals of the Southern States of America. Destruction of any kind cannot make deplorable historic events undone. What's done, cannot be made undone (Shakespeare, Macbeth). You have to go to 2:26:52 in the Paris 2001 perforamce of 'Die Zauberflöte' the link to which I have exposed in my last message to see the 'political incorrect' costume of Monostatos. It's i my eyes rather ridiculous. But laughin is always better than deploring.
Peter Bierwirth oh well... right now this world seems to fall apart and insanity rules (almost) everywhere. But you are right: we still can laugh and see the true beauty and magic in what has been created in a time long past.
The lovely Daniela Dessi ",💖🌟🌹 La Stupenda" performing the lovely cavatina (Leonora`s first aria) "Tacea la notte placida e bella in ciel sereno" in act I. From the magnificent 4 parts {acts} opus "Il Trovatore ", set in the Northeast of the Iberian Peninsula (Biscay, Navarre and Aragon).Music: Verdi. Libretto: Cammarano.
Daniela Dessi fue una cantante sorprendente en muchos aspectos, sin aspavientos, discretamente y sin divismos lo hacia todo bien. Lástima su temprana partida, le quedaba mucho por hacer
Wenn auch Sprache schwierig, deutsch, hier aber ist viel mehr als ein Spieltenor zu hören. Monostatos eine wichtige Figur, oft sträflich und zu leicht besetzt! Wunderbares Timbre !!!
Trommelschlager hat mehr Potential als nur Monostatos. Hier der Beweis: Nessun dorma von Puccinis Turandot: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-kRS6R0B_Lfc.html
"al cor, al guardo estatico la terra un ciel sembrò...". Grazie, Daniela! Even this late in her career, after 30 years of eclectic repertoire, she could shape her lines so beautifully.
Abscence totale de directeion d'acteurs et de mise en scène. Dommage, car belle voix, et véritable musicalité. On sent bine que le pauvre baryton (mais n'est-il pas ténor, finalement ?) ne sait pas quoi faire. Une version concert aurait été suffisante.
l'opérette est considérée par certains comme "ringarde" ; mais les connaisseurs de l'opéra y découvrent des pastiches drôlissimes ; et un rien de second degré permet de goûter tout l'humour de la chose ; sans compter les véritables prouesses vocales de certains passages....
