Excelente montagem, com um grade diretor cênico como Cesare Lievi, tirando o melhor do jovem Kaufmann e da maravilhosa Bartoli. Obrigado por compartilhar!!!
A wonderful opera with a great cast. But if you are a fan of Jonas Kaufmann, how could you not love this? Some of the most beautiful singing that he has ever done.
TOUSSES EXELLENTS CÉCILIA SUBLIME, Elle CHANTE. COMME ELLE JOUE ELLE JOUE COMME Elle CHANTE CETTE. INE TRAGÉDIENNE DU CIECLE KAUFMAN EXCELLENT L’OPÉRA. NINA. T TRÈS. RICHE. VARIE DU. JOIE. DU - ❤️❤️ 💚
Una verdadera joya musical, belleza e intérpretes extraordinarios. El argumento; no sé de que se trata, pero aún así es un monumento a la belleza musical que conmueve el alma.
Fascinating the way the Mozart concert aria 'Ah lo previdi - Deh non varcar' has been interpolated into the opera. I can only imagine it is period performance practice. Love the aria, so, good to hear it here. Thanks for posting
Anthony McAulay It was quite common in the eighteenth century for these ‘cuckoo arias’ to be inserted by composers, singers or impresarios. In this case, I think it was a mistake; ‘ Ah lo previdi’ is incongruous, it is simply too big and holds up the action. This particular cuckoo is an unnecessary distraction and intrusion into a very fine opera.
j'avais peu entendu Kaufmann jeune en scène dans un répertoire italien ' style belcantiste ou mozartien ' ! c'est une surprise, notamment les pianissimi écrits Paisiello. merci 10surdix.
Full of magic, great performance. Nina was one of the greatest opera successes of her time and was performed on almost all stages up until the 19th century. The title character was a signature role for famous singers such as Isabella Colbran, Giuditta Pasta.... Why is this brilliant opera - among operas - not on the repertoires of opera houses? Many parts of the music are shaped by the agile, plastic and witty style of the Neapolitan opera buffa, but Nina's pathetic, elegiac and elegant parts in particular reveal a new taste. It can therefore be said that this opera inaugurates what in France will be called comédie larmoyante, and that the enamored and delirious Nina is the artistic precedent for many other similar creatures, such as Amina from La sonnambula or Elvira de I puritani. La Nina can also be considered a precedent for the romantic heroines who go mad in the paroxysm of the drama, whose model would be Donizetti's Lucia the romantic madness is a consequence of the drama developed in scene, while in our case, Nina appears ill from the first moment and the expected happy ending is that of her recovery.
Lindoro, her lover/A shepherd (tenor) Jonas Kaufmann The Count, her father (bass) László Polgár Susanna, her companion (mezzo-soprano) Juliette Galstian Giorgio, the Count’s valet (bass) Angelo Veccia ACT I Nina, the Count’s daughter, has gone mad. She’s asleep for the moment, but what will happen when she wakes up? Nina and Lindoro were going to marry, with her father’s approval. Unfortunately, on the day of the marriage, a richer and more powerful rival turned up, and the Count broke his word. Lindoro died in a duel with the rival, and Nina went mad. Having left her father’s home, she wanders around the village doing good deeds for the people, who all adore her. Tortured by remorse, the Count arrives in the village, lamenting his sad fate. Nina appears, and the Count, Susanna, and Giorgio withdraw discreetly. It’s the hour when she goes to the crossroads to wait for her lover. The villagers come to comfort her, and sing her favourite song. Shaken, the Count approaches, but his daughter doesn’t recognise him. At sunset, a young Shepherd brings back his flock. His sweet voice reminds Nina of Lindoro’s who, once more, hasn’t come. Having left, like every day, flowers at the place where she waits, Nina returns to the village. ACT II Joy follows sorrow. Giorgio brings the Count good news: Lindoro isn’t dead, and he’s at the castle gates hoping to see his darling. The Count’s servants bring him before their master. At first afraid, he is reassured by the tears of joy with which the Count greets him. Lindoro tells him that, seriously wounded, he was cared for by a friend, but, believing Nina married to his enemy, he delayed making his appearance. The news of Nina’s sad state knocks him sideways. Nina is brought to him. Seeing him stand before her, she cannot believe her good luck. Lindoro reminds her of the happy days they spent together. Learning that it really is Lindoro who stands before her, and that nothing stands in the way of their happiness, Nina recovers her wits.
Il y a aussi, et non des moindres dans la distribution Juliette GALSTIAN et aussi Laszlo POLGAR !!! La réussite de cette production n'est pas limitée aux deux "vedettes" indiquées dans le titre de la video.
very good performance. But Bertoli is not a favourite of mine and another singer would made this recording the best there is. But i know that "the taste is like your butt, diveded":)
Not being a bread and butter opera, tickets may not have sold had they cast unknown singers as Nina, Lindoro, and the Count. The way Kaufman and Bartoli sing works for them, and two decades later, they still sing well whether you like their voice or technique
