A short documentary about the beginning of Yannick Nézet-Séguin’s tenure as Met Music Director and the creation of a new production of Verdi’s La Traviata, starring Diana Damrau. Filmmaker: Bob Richman. 2018-19 season.
We need more of these. I, as a student (conductor and opera singer), draw a lot from such videos. Thank you for sharing some details of your "kitchen", it teaches a lot, even in such short videos.
So many experts here, in comment area....wow... Less judging, ...more open mind and try to enjoy what directors, actors and singers are doing for us! This is hard work do be a singer, director, artist.....honestly, people ;) All the best for all opera fans!
I live in Athens and i am very lucky that i found tickets for yesterday performance of TRAVIATA in OPERA HOUSE in Athens iwas so impressed !!!! all were so perfect , εφυγα γεματος χθες απο το μεγαρο μια υπεροχη παρασταση , ολα τοσο τελεια , Ποσο σπουδαιος ο Yannick Nezet με την ωραια καθοδηγηση ποσο βοηθησε την σομπρανο να εκφρασει ολα τα συναισθηματα της Βιολετας ενα μεγαλο ευχαριστω στους συντελεστες αυτης της μεγαλης επιτυχιας Γιαννης
I was surprised to hear all the negative criticism for Diana. But I get this now. I love her. Her performances of Queen of the Night are so amazing & entrancing they are reason I became addicted, and why I am even watching this now. You, who are purists might have valid concerns about the perfection of her voice for the role. But the rest of us who are plebs and don’t understand the finer points are being exposed to this as newbies, or the mildly interested. The Met knows this. It is better for the company, the performers, artists, and the art form itself to have lots of bums on seats and wide exposure. Diana’s popularity does this. Just like a movie star attracts more people to a film. Happy to have these finer points explained. It makes it all the more interesting. However Diana and Queen of the Night are the reason why a lot of us are here.
And I know whereof I speak--I am an opera singer whose teacher pushed her into heavy roles too soon and am now suffering for it. Opera ain't pop--there are very physical limitations to what a person's voice can do and these too will have serious problems if they continue to push their voices to the brink in these kinds of roles that are so far out of their fach.
Mary Valletta - thanks for your comment. However your first comment is completely misses the point & comes across as rude to me. I’m sorry to hear you suffered, but I am not responsible for the casting of these roles or the welfare of the adult, professional performers. The casting of this opera has nothing to do with me. My comment is related to all the criticism of Diana - when I enjoy her performance so much.
I know this comment was made a long time ago, but I think the reason why a lot of us are angry with people like Diana Damrau and the met in general is because they are destroying the whole tradition of opera singing. The problem is that Diana wouldn’t have a job 50 years ago. She would be booed off the stage. If you compare her to Zeani or Callas or any of the celebrated Violetta of the time you would realize she is not great. I also think that Diana and the met are having the opposite affect on people. New people are getting turned away from opera because the singing is not worth anymore. I hope that maybe answered why we are mad
J’ai assisté à la représentation cinématographique de La Traviatta hier. C’etait mon tout premier opéra et j’ai beaucoup aimé. Merci de nous faire voir se qui se passe en coulisse, pour une néophyte comme moi qui n’a pas idée du travail d’un chef d’orchestre. Dommage que vous pu nous entendre applaudir.
Im not an opera fan but after i hear diana damrau queen of the night i ended up here(watching all her video and seeing all the negative comment about her..nope.. i still love her voice...she has all the color in her voice..💕💕)
Merci de me donner l'occasion de vous faire part de l'émotion du public français après la représentation de samedi dernier. Elle a été un moment exceptionnel; justesse du jeu dramatique et du chant de Diana Damrau, mise en scène donnant l'impression que les chanteurs acteurs étaient vraiment dans l'histoire, dans la vie de Violetta, d'Alfredo et de Germont. Le souvenir des autres représentations va s'effacer derrière celui-ci. Décor unique et suffisant grâce à l'utilisation de la lumière et de quelques accessoires, Contraste réussi des très riches costumes des choristes et des tenues plus simples de Violetta dans le premier acte. Et justesse et sensibilité de l'interprétation par l'orchestre dirigé par Yannick Nézet-Séguin comme nous le:montre cette petite vidéo. Bravo à Diana qui est une formidable actrice en même temps que soprano de premier plan; on a pu voir de nos yeux combien elle est à l'aise dans ce rôle et comment elle a empli le personnage d'une sensibilité qui manque souvent chez les plus jeunes divas. Merci au MET, à Yannick, à Diana et à ses partenaires Juan Diego-Flors et Quinn Kelsey ainsi qu'à l'orchestre, aux choristes, second rôles et aux danseurs, et à Michael Mayer et à ses décorateurs. Cela nous promet de belles saisons d'opéra.
absolutely divine. Saw it at the cinema in Ireland last night. Packed house and not a dry eye in the house. Excellent production and performances by all the majors and minors. Ballet and dance scenes amazing. Replaces the Domingo/Cotrubas as my number one Traviata. A worthy new production. Well done Yannick Nézet-Séguin
I love Diana.. but for example, there's a clip where Montserrat Caballé sings a line acapella to the director sitting at the piano.. her voice is just magic.. the pure beauty and magic of her silvery tone... I just prefer Diana in lighter roles where her timbre feels more right.
I was hoping someone would comment on the setting. The Met went from a spartan, locker room-like scene to something akin to an Italian wedding cake, one extreme to the other. I suffered from visual indigestion.
In an interview, Mr. Gelb said that he regards the main competition of the MET as not La Scala or Covent Garden . etc, it is BROADWAY. So, as long as the punters keep paying the big $$$ for their tickets and the deep pocket Koch Brothers and friends keep sending their tax deductible dollars to the MET, expect their productions to start looking less like German Expresssionist drawings and more like "Phantom of the Opera"....
seems a bit too nice though--the Met needs someone to kick their asses and make some changes that are desperately needed--don't think this is the man to do it, unfortunately
what a wonderful new breath of fresh air for the Met. as a young person living in NYC and as a paying customer of their productions, I'm happy to have someone under the age of 10,000 years old running the show now...about damn time. Also, so happy he is gay - just another reason to like the guy (gay people know what they are doing when it comes to this stuff, better than anyone)
I guess that's why there is a bed in nearly every scene--huh? The staging was terrrrrible and made absolutely no sense. I'm all for hiring young people, gay or whatever, as long as they use some semblance of common sense. It was too distracting and puzzling and did not serve the narrative well at all.
@@maryvallettakeith6146 everybody makes mistakes when they start a new job! give him a chance - he is young but he will do great things for the met, i promise. i'd rather have someone with new blood that's trying new things (and maybe failing at them) than some old person doing the same thing year after year. he just needs some time to acclimate.
I honestly don't understand what a person's sexual preference has to do with the quality of their work-not when it really comes down to it. It's true there are a lot of gay people in the arts, but that's about it (and I don't think I need to say how people would react if you switched the word "gay" with "straight", but that's a whole other discussion).
The music was sublime, but please explain this to me: when the couple escape to a peaceful life in the countryside, how can the scenery stay the same as the boudoir in Paris, with every identical piece of furniture in exactly the same place?
Bravissimo! The musical support for the singers brought a balance that rescued the opera from the familiarity which can so easily descend into triteness. This documentary illustrates Nezet-sequin's mastery of the whole musical performance.
If once and for all!!they let the music speak for itself!! Traviata is A masterpiece of an opera!! But All the time we're there is preludio A musical theme,they try to create An acting,an scene!!for. God sake!!let the music speak,we have To listen to the music!! It is too much abuse in opera those days Try to create something that's Already in the music!! You just Have to listen!!!
Diana Damrau is a great singer, but Violetta does not suit her voice. I heard this performance on the radio broadcast and from the very beginning it was clear the part was mis-cast.
I do think that Damrau is not a good match for Violetta. Although she certainly has the technical skills, her voice has a light, cold quality which is not particularly suited to most Verdi. Her Gilda was marvelous because the lightness of the voice reinforced the innocence of the character. Overall her voice is much better suited to the various German and French coloratura roles that she has sung very successful.
Actually the Met and great Opera Houses around the world have good singers, probably very good singers sometimes, but great, great voices are in disappearing.
It's marvellous how many people are experts in their lives, a lot of criticism about this young lady, would love to see the majority of you get up there and do better, she is a very young singer still, so plenty of time to expand and mature, I personally think, what a wonderful gift to possess and remarkable talent." GOOD ON YOU GIRL "
Won't deny that she did a fine job here (*excusing the Sempre Libera*) but that you call her here a "very young singer" makes me question!??... for a female opera singer this is NOT very young or even young .. it passes quickly for sopranos! Very few last unscathed by age ...
Many conservatory graduates can sing better than her but are not selected because they're not famous. The management is only interested in international stars to attract publicity rather than considering quality graduates.
I actually have sung this role because it is suited to my voice. Most of the criticism here is that she is singing a role that is very far out of her fach and is not suited to her voice--if you don't know what that is please look it up and educate yourself. Thank you.
All of this coaching for a singer who is fundamentally not suited to this role--what a waste. Shame on the Met for following the almighty dollar when there are so many great singers who can nail this part. And for destroying the voices of two more good singers--following in the footsteps of Netrebko, who can barely produce anything resembling music anymore. Money grubbing fools. :(
Why there're no clips or mentioning of Giorgio Germont? Is this character or the baritone too boring in this production? It seems this performance is just a two person show for the stars who play Violetta and Alfredo. People come to see opera, not pop stars.
Damrau is a intelligent and Musical Singer. She is energetic, she is very emotional....she have some troubles...but I heard her in Stuarda- and she sounds much better. But I do hope that she can cure herself...
No less than pianist Steven Blier has shared a personal anecdote (with Conrad L. Osborne) on the use of AMPLIFICATION at the Metropolitan Opera. It is required reading. Short video on it in my channel.
Eine der besten Darstellerinnen heute, eine schöne Stimme, leider wird das Vibrato immer weiter. Warum kann man das gesangstechnisch nicht korrigieren? Der Dirigent ist wunderbar.
Rather than stressing her voice, I would ask for several sessions with her . . . with her bringing her favorite recording and Maestro bringing a favorite recording and the house musical 'friend' bringing a favorite recording . . . and have everyone with copies of the score . . . and listen together and discuss the musicality. Even IF each session was to go on all day long. SAVE that voice. I've seen this often . . . TOO MANY REHEARSALS!
Something that's nice about this is how 'projecting' doesn't seem to be THE issue. When every seat in the house is unobstructed there should be NO need to "project". They're going to be listening. A guarantee. When this is understood by cast & conductor . . . textures bring believability and a good conductor's ear for parallel conduct in the pit. Early on (around the 4:00 mark there was a lightness in the strings for about a second. This could be throughout. There's so much going on.
Violeta in. La. Traviata is not the Classical verdian soprano La. Traviata is a case apart among All others. Verdi heroines. She is Not. Aida or the. Leona's,the Amelia's,or. Lady. Macbeth. She is A different case in. Verdi repertoire.
I personally detest Damrau’s vibrato. It’s way, way too wide for my taste, but it seems to be the common currency of most operatic voices. It totally obscures the actual pitch she’s singing at many times, and renders the melody nearly unintelligible. That said, she’s an excellent singer in all other respects.
Oof, yes Damrau's painful warbling. So glad I didn't waste my Saturday on this terribly miscast performance (others here note her problems much better). Feel so sorry for the rest of the cast and pit.
A fine and risky revolution for MET. Hope they get to reclaim the glory of opera a century ago. At the point, I just earnestly hope Callas to return. Otherwise we need some true Verdiani to run Verdi, not those Rossinies who can just accomplish verdi aria safely.
A lot of political correctness here - subtle, but there it is. Drama in music depends largely on rhythmic flow - a lot of errors in intonation or sound can be forgiven (or almost overlooked) if the rhythmic flow is perfect. One can pick a song apart in rehearsal but the live performance will usually be quite different. A lot of time is wasted going over minute details which will be unachievable when the curtain goes up. Still, artists have to fill the hours somehow.
See how horribly she rushes at 12:07. What's the use of rehearsing when singers lose control on stage? Carlos Kleiber used to ask for more than thirty days of rehearsals for an opera and was lucky to get 20, but at least he kept everyone together. Please.....
Miss. Damrau was not in a good Voice or total control of her voice On. Saturday afternoon. Met Travolta,technical problems? I think so!!she has a great voice But she is singing like a dramatic Soprano,which she is not. She has A difficulties in. A forse lui,and then at. Sempre libera!!. Then in The iv act she was in problem Again with the area. She has not Mezzavoce,no piano or pianissimo In her voice,she was out of breath Constantly. No advice for her? Scale,scale and more scale in one Breath!! She is German,she should Listen to the old times like. Lily Lehman and. Frida. Hempeljust To mention 2 greats German sopranos like her,from the past. Two great sopranos with great Technical command at their Disposal. One dramatic and one Coloratura,both great sopranos From the past. She needs scales For sure. I like her voice,is a good Voice,but needs more technique.
N'oubliez pas que l'opéra est un art complet et que le spectacle donné par le MET YNS et Diana Damrau répond à tout ce qu'on attend d'une troupe: sensibilité, émotion, justesse. SI vous voulez attaquer quelque chose dans ce spectacle , voyez le ténor et écoutez le: il était ailleurs , un peu décalé comme si le jeu d'acteur était trop difficile pour lui (en particulier souvenez vous comment il secoue les bras de Violetta au dernier tableau quand il devrait la réconforter: c'est ... étonnant! Les cabales n'ont rien à faire ici. Si vous n'avez pas vu le spectacle; shut up comme dit votre président.
You have to stop and wonder who the casting director has slept with to get their job at Met. Obviously not out of own merits because casting Netrebko and Dameau as Violettas I mean that’s some f***ed up s**t (forgive my Italian). RIP Met.
Fascinating to watch this rehearsal. I do love Damrau, and have seen her many times. But I like her in French lyric roles....Manon, Leila, Juliette. I didn’t care too much for her Elvira in Puritani, and now I think maybe she’s not quite right for bel canto. And Violetta is bel canto. Update: I saw the HD telecast and it was absolutely dreadful. I used to adore Diana, especially as Manon, Juliette, Leila (all of which I saw on the Met stage). But something serious has happened to her voice, which I feared when I saw Puritani. I hope she can repair it with further study.
I am looking forward to hearing the Tenor,,, but the Soprano will kill the show ,,,,sing please. Don't strangle yourself. If you are sick get off the stage. Portraying someone who is sick and dying doesn't need that hideous sound Damrau is making. Tooooo much Diet Coke lady.
Maestro try to do something better, but she do what she can. A small voice is not for Verdi!!! That is not her debut in the role, she has a bad reviews in Paris and Milan.
Just what Verdi doesn’t need: a mono-toned voice with a big wobbling vibrato and little emotion. No wonder this ‘art form’ now belongs to educated subscribers and others conditioned to endure this aesthetically awful sound.
Are people that say that Damrau's singing is good out of their damn minds?!? Her timbre is so unpleasent, her breathing is awful, her legato is nonexistent, her low notes are also just outbreathes, her phrasing is not consistent,her middle voice is very weak as well and god her acting is awwwwwful, she's always does the same overacting ridiculous expressings....
Jeff Newtown I'm not an opera singer and I don't have plans to become one. I'm the one that's sorry for the fact that you can't tell apart art from trash, but oh wait you don't have the mindset to do so...
I agree with you 100%!! Her life Performance this. Saturday was Awful!!particular all the famous Areas. If you compare her singing To the tenor. Juan. Diego. Flores You realize she has a bad technique and in serious problems With the areas. Her voice is good But for sure,she has technical Problems!! Merry. Christmas!!!
I would not be so severe, but yes, she has problems and for a quite a while now. Too much oversinging, too heavy roles for her voice, as Traviata. She did not let her voice to mature and grow and that's the result, unfortunately. Too bad as she was a very bright promise in the opera stardom. ( I don't like the way she acts either, but that's very opinable)
Everyone can have a bad day in his or her job. The day before yesterday I saw her in the met and she was truly amazing. I was not a fan before, now I am. It was nearly perfect singing and she touched by the warmth of her voice. And is this not the important result of music....?!
@@maurrizio I agree--she has no excuse for avoiding it since she has sung the Queen of the Night's high F in the past. Shameful and safe. Opera should be about taking risks--we need more fireworks!!!
@@maryvallettakeith6146 back in her prime days she used her bodily cramping acting to naturalise the facial tension of her vocal strain; now that she has ruined her voice at such early age, she could only excuse herself from sticking with the original score or musicality blah blah blah
I hated the broadcast. Damrau tone spreads on forte and Florez is two sizes too small for even light Verdi. Kelsey was wonderful. I think it's time for me to take 'Traviata holiday'. I could live out the rest of my days without hearing it again.
@@mikesaddy5523You must like singers who bellow like an injured bull if you like Kelsey! No warmth, just volume & he acts as well as a plank! I'll take the lighter voice of Flores, with its,' beauty, infinite variety of colour & expression. Having seen him live in opera at La Scala & The Royal Opera House, I can assure you his voice carries throughout these huge theatres.
@@gillycooper8717 g Good for you! He still sounds like he should be singing Beppe or Spoleta to me. Is it Peru? Luigi Alva sounded colorless and pale to me as well. Agree to disagree about Quinn Kelsey.
Damrau has no business portraying the Parisienne courtesan. Her timbre and all round style is way too Teutonic to imbue the Italian repertoire with any measure of idiomaticity.
Diana Damrau cant sing trills when she wants to, but when she sustains the last F5, it is almost a perfect full note trill. She should rebuild her technique and voice, otherwise she ends up like Dessay.
What else in the. Verdant repertoire,besides. Rigoletto And. Travolta,could miss. Damrau Sings? That should be her limit on Verdi!!most. Verdi sopranos are Spintos or dramatics!!!!! Most Coloraturas sopranos in the past We're very successful singing Rigoletto and. Travolta. But I don't Think,miss. Damrau is not at her Disposal,the arsenal technique of The great coloratura sopranos Of the past.
Si ! la acabo de ver en mi país !!excelente versión muy buenas voces y excepcional la “actuación de,los cantantes !! me “ aburrió La escenografía repetida y el comienzo del segundo acto con “ Di mie bollenti ispiriti “ con Violeta durmiendo ..... decididamente NO me gusto´......- ç
The. Met a policy for long time About the. Eflat in. Travolta. Is Prohibite to sings the high note At the end of the caballetta. I do not know for how long this policy Exist. If before. Callas or.after Callas. Am sure when she sang Traviata at the. Met,she hit the Famous or infamous. Eflat!!
I'm pretty sure this isn't (wasn't) true ... I heard June Anderson sing Violetta at the Met long after Callas and her high E-flat capped Sempre Libera beautifully
Alfredo Loyola Sutherland, Sills, Cotrubas, many others at the Met; they all sang Eb. But it’s just icing on the cake because Verdi didn’t write it. But Diana sang coloratura for so many years, it is surprising that she didn’t include it.
Kate V @Kate V I attended the matinee performance at the Met. Sorry, but Ms Damrau was even worse there than in the rehearsal. I was a very big fan; I don’t know what happened to her.
