Fra l'altro voglio precisare che erano ancora vivi tutti i vecchi registi tedeschi che ora purtroppo non ci sono più e che tutti noi rimpiangiamo perché vorremmo ritornare ai vecchi tempi mi mancano molto i vecchi registi tedeschi
L edizione d oro sublime del Fidelio bellissimi costumi storici dell'800 bellissima la regia in stile film Opera questa magnifica edizione in bianco e nero del 1963 ancora ai tempi dorati delle grandi regie....
Extraordinary: this production, so full of truth, beauty, passion and compassion, and expressed with gravitas, clarity and Personenregie of a quality that transcends the 60 years since it was staged. Exemplary.
Ridderbusch - die Arie: was für eine Charakterzeichnung eines in jeder Beziehung gebrochenen Mannes. So erzeugt man Empathie für „Bühnenschurken“. Meisterhaft.
Here you clearly hear that Eva Johansson is not a natural dramatic soprano. More like a strong lyric who had sung for (too) long and gradually undertaken heavier roles.
Ramey’s instrument is his greatest asset & he is in superb form here. However in a comment I made earlier the greatest dramatic performance I have seen of this opera came courtesy of Norman Treigle who, all things considered, has not been equaled since in this role, IMO. The impact he made on me when I saw him in Seattle 50 years ago will stay with me forever & this was 5 months before he died. The timbre of Treigle’s instrument remains controversial for many & is although powerful & sonorous (his opening sound of the AVE SIGNOR is spine chillingly effective) not by any means a conventionally beautiful sound as Ramey’s is. One cannot deny, however, that Ramey, not always the most dramatically dynamic of operatic actors, IMO, gives one of his better operatic characterizations here. O’NeIll, IMO, is not first rate but despite that this DVD (I saw it first on video) is a fine tribute to Boito who although not really a great composer really came through memorably with this Opera, IMO. The prologue & epilogue in themselves are among the great moments in all opera. In most ways I find MEFISTOFELE more interesting than Gounod’s FAUST. A personal view for sure.
Applaus für ein Bühnenbild ! Wo gibt es das heute noch, wenn ein Schwachsinnsszenarium aufgezogen wird. Durfte die Schenk/Schneider-Siemssen Inszenierung mit Ridderbusch an der Rheinoper sehen. Danke fürs Hochladen !
Vielen Dank für diese schöne Erinnerung an zwei Künstler, die ich häufig erleben durfte. Ingrid Bjoner, ein klangvoller, ausdrucksstarker dramatischer Sopran mit großer Bühnenpräsenz; und Gerhard Fricke, damals GMD an der Deutschen Staatsoper Berlin, ein kundiger Kapellmeister, immer ein Garant für gelungene Vorstellungen.
what an amazing performance. Saw it live in SF and loved it then. Now even better seeing the close-ups right before me. Recovering from broken hip so can't go anywhere; grateful for pleasures like this.
