If someone is interested, the theatre where this scene was filmed is the "Markgräfliches Opernhaus" in Bayreuth, Germany. This theatre is one of the most beautiful theatre in the world and is an "UNESCO World Heritage Site" . Built in 1748 in typical barock style by Italian architect Giuseppe Galli da Bib(b)iena. Richard Wagner actually came 1870ca. to Bayreuth so as to play his "Ring der Nibelungen" in the Markgräfliches Opernhaus, but soon he dismissed his ideas, being not happy with the size and the style of the theater. So he decided to build his own theater with a totally different style, size and orchestra pit. That will be the as well famous "Festspielhaus".
Except for the fact that it was digitally re-mastered. I do think that Dimash would be able to sing it this flawlessly today. Philippe Jaroussky came as close as possible naturally at the time so his concert performance remains my favorite. Unquestionably, the movie version was exquisite. 🎉 [I sang this to my beloved feline soulmate as he went to eternal sleep in my arms at the vet, paw firmly stuffed into my hand, on 2/10/14. He was 19 and adored this piece and it was this or Tony Bennett. (I'm a 1st Soprano). As always, it was softly into his ear and a belly kiss. He purred for the few seconds before slipping away. They assured me that they've had others sing to their critters before. 🙊💋🙏🏽]
Ich habe das wunderschöne Lied von F. Händel erst durch diesen Film kennengelernt. Im ersten gemeinsamen Urlaub mit meinem Liebsten, als wir eine Kirche in Istrien besichtigt haben, habe ich begonnen, das Lied zu singen und er hat sich ans alte Harmonium gesetzt, das dort war und dazu gespielt. Seitdem ist es unser Lied. Nach neun wunderschönen Jahren ist mein Süßer nun sehr schwer krank und ich hoffe, dass ich die Kraft haben werde, bei seinem Begräbnis dieses unser Lied wieder selber für ihn zu singen ...
Sim! A voz da soprano Ewa Małas-Godlewska (polonesa) é espetacular. Aliás há interpretações uma melhor que a outra. A produção de Farinelli, o filme fez uma bela escolha.
Farinelli era evidentemente una leggenda. Come tutti i geni deve aver sofferto molto, per questo poteva manifestare la sua arte con tanta passione, con tanto sentimento
That you are touched by the music is in itself the greatest education. Other things, knowing 'stuff' about music, is good, but distinctly secondary. You have good taste.
It is, of course, almost impossible to know what the castrati actually sounded like other than what we have of the recordings of Alessandro Moreschi, which would appear to be very different from the stunning mixed recording here by the soprano, Ewas Malas-Godlewska, and the counter-tenor, Derek Lee Ragin.
It probably did not even sound that good, considering what pieces sound like when played on authentic instruments and in authentic rhythm and style; people were more easily pleased in those times, before hd.
Учитывая всевозможные физиологические аспекты, кастраты звучали либо как женщины, либо как тенора-альтино (которые тоже похожи голосами на женщин), либо что-то похожее на Робертино Лорети, но никак не на контртеноров. Просто их голоса были значительно мощнее, а техника отрабатывалась виртуознейшая. Но не стоит забывать об индивидуальной изменчивости. Даже среди одного типа голоса встречаются самые разные тембры, у кастратов они тоже все были разные. Кто-то пел неотличимо от женщин, кто-то более "мясисто" и мужественно, как альтино, кто-то легко, как ребёнок. Не вижу смысла думать, что окраска их тембров была принципиально не похожей на естественные голоса. Не понимаю, зачем они так мучились, соединяя два голоса - звучит как обыкновенное спинто. Хорошее, очень чистое, красивое, но обыкновенное.
@@chriskershaw7968 Pretty much everything sounds better when played on authentic instruments, and you are hearing what the composer intended. Instruments (and voices) changed as concert halls became larger, but that doesn't make them better. Baroque music played on modern instruments is a transcription.
Alessandro Moreschi was not equal to Farinelli or any of the other great singers of that period. Moreschi was the best castrato out of a pool of one, he wouldn't have received the same level of training and he wasn't good enough to sing opera. Farinelli was the best of the best at the peak of the popularity of castrato singers. Also, the recording of Moreschi is very poor quality, so it's difficult to determine what he actually sounded like - Listen to recordings of Caruso from around 1900 and compare to a modern recording of someone like Pavarotti. There has been quite a lot of research into the impacts on castrati. The research in the 18th century focused on physical impacts - Longer legs, broader chests, no faciai hair etc. More recent research shows that boys have the same length vocal chords as adult females. As boys go through puberty the vocal chords become longer and thicker, making the voice lower and less flexible. It seems reasonable to conclude that the castrati voice would be similar to the female soprano and just as flexible. Then you have to consider the additional chest/lung capacity, which would make the voice more pure, with less vibrato, and allow them to do all sorts of vocal tricks.
@@lindabirkett8803 ....'Alessandro Moreschi was not equal to Farinelli or any of the other great singers of that period.' Excuse me for being facetious, but clearly you have recordings of the castrati of that time that allow you to make that bold statement. Please divulge.
The movie is gorgeous. I watched it when it came out in the cinema in the 90's. It is from a Belgian cineast: Gerard Corbiau. Although he has another splendid film: "Le Maitre De Musique" with José Van Dam( baritone), he is now retired I guess. Let's say... if they should make a movie like this nowadays...you don't have to be bothered with blending voices of a contratenor and a soprano...you've got the male sopranist Philippe Jaroussky!
Let me / weep LASCIA / CH'IO PIANGA The cruel fate LA CRUDA SORTE and that I sigh / the freedom. E CHE SOSPIRI / LA LIBERTA' -------------------------------------- May the pain shatter IL DUOLO INFRANGA These Chains QUESTE RITORTE Of my torments DE MIEI MARTIRI Just out of mercy SOL PER PIETA'
Saya tidak faham bahasa ini. Tetapi alunan lagunya terlalu menyahat hati sehingga terasa guris hati dan tanpa sedar airmata mengalir. Terima kasih dari saya dari Malaysia 🇲🇾
A beautiful performance, and a wonderful scene in the movie. The BEST? I wouldn’t say that… Different listeners will have different takes and opinions (some better informed than others) on it.
Na verdade são duas vozes, Marcello. Para se aproximar do que seria a voz de um "castrato", para esta cena do filme foram mixadas as vozes de uma soprano e de um contra-tenor ;) Ficou realmente maravilhoso!
Let me cry Lascia ch'io pianga My cruel fate Mia cruda sorte And what sighs E che sospiri Freedom La libertà Let me cry Lascia ch'io pianga My cruel fate Mia cruda sorte And what sighs E che sospiri Freedom La libertà And what sighs E che sospiri And what sighs E che sospiri Freedom La libertà Let me cry Lascia ch'io pianga My cruel fate Mia cruda sorte And what sighs E che sospiri Freedom La libertà The duel breaks Il duolo infranga These twisted Queste ritorte Of my martyrs De' miei martiri Just out of pity Sol per pietà Of my martyrs De' miei martiri Just out of pity Sol per pietà Let me cry Lascia ch'io pianga My cruel fate Mia cruda sorte And what sighs E che sospiri Freedom La libertà
Wanna hear something that will make you jealous? In 1996, I saw "Farinelli" on the big screen in a double feature with "Tous Les Matin du Monde". It was my first time seeing either film.
Спасибо.!!!!! Очень люблю классику.Мне 82 года.В молодости и на концерты ходила , а Большом просмотрела все оперы и балеты.Ходила на все концерты .Мой молодой человек был знаком с гл.дирижером Большого Б.Э.Хайкиным.Давал контрамарки и мы часто ходили в театр.
nicht umsonst wurde dieser film zum oskar vorgeschlagen. der counter tenor, die soprnistin und einige tricks lassen erahnen wie farinellis stimme geklungen haben muss
Farinelli (24 January 1705 - 16 September 1782) was the stage name of Carlo Maria Michelangelo Nicola, a celebrated Italian Castrato singer of the 18th century and one of the greatest singers in the history of Opera . Farinelli has been described as having had Soprano vocal range and as having sung the highest note customary at the time, C6
Just you d out this voice was dubbed by a soprano and a counter tenor. So. It's not his real voice you hear. But I wonder ( like everybody else, what a real castrato's voice sounded like. Good movie though.
This recording is, I believe, two voices mixed a countertenor and a mezzo soprano. I don't know who they are. The film is from a movie - Farinelli which borders on soft core pornography. Vivica Genaux has made a very lively recording of this aria. I'd love to see this movie widely distributed in Florida.
So was that him as child being placed in the concoction that would chemically castrate him? What's the name of this movie? Love the sound of his voice, the richness...
No, there were no chemicals, acid or otherwise back then, to do that, they mutilated him at that young age. I think Farinelli is remembering his painful memories, that is how I interpret it. The movie is "Farinelli" about the IL Castrati boys of that era.
@@madelinedelvalle3666they most likely would cauterize or burn, or some kind of heat applied to the wound, so it shut and they wouldn't bleed to death, since boys died from the mutilation. Infant and young boys still go through another form of gential mutilation today in Modern America, they use the term the euphemism "circimcision" but boys still die the complications, they (doctors) said, not the actual surgery. It is pretty sick overall, and had little to do with religions, since the surgery and surgical procedure has changed by men over the last two thousand years.
Dies Gewiss nicht der Film stammt so viel mir ist aus den 90 er. Habe ihn gesehen als er herauskam. Damals gab es noch nicht gross Computer vor allem nicht zur Stimmveränderung. Aber soviel mir ist ist das die Stimme einer Sängerin und er singt nicht wirklich.
A fascinating version, to be sure, but not the best ever, because it's artificial: it was made by mixing together the voices of a soprano and a countertenor in the recording studio. I don't want to nominate a best version because I haven't heard enough versions to be able to have a properly considered opinion, but I suspect I would pick a modern countertenor.
