Verdi: Il Trovatore [Blu-ray]

Verdi: Il Trovatore [Blu-ray]

34.98 USD

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Actors:
Anna Netrebko, Gaston Rivero, Plácido Domingo, Marina Prudenskaya, Staatskapelle Berlin
ASIN:
B00KZ73UQ4
Aspect Ratio:
16:9
Director:
Philipp Stölzl, Daniel Barenboim
Is Discontinued By Manufacturer:
No
Item model number:
unknown
Media Format:
Multiple Formats, Blu-ray, Import
MPAA rating:
s_medNotRated NR (Not Rated)
Number of discs:
1
Release date:
September 23, 2014
Run time:
3 hours and 45 minutes
Studio:
Deutsche Grammophon
Subtitles::
Italian, English, German, Spanish, French, Cantonese, Korean
Lovers of Il trovatore a work famous for its perennially popular cavatinas and cabalettas rightly expect the singers to be at the very top of their vocal game and particularly look forward to the top C at the end of Manrico s stretta, a true do di petto produced not from the head but from the chest. Yet the production of the work that was staged at the end of 2013 by the Staatsoper Unter den Linden in Berlin jointly run by Daniel Barenboim and Jürgen Flimm deliberately flouted these expectations and traded familiarity for astonishment. Such a reaction was due not only to the two most famous singers of our age, both of whom were appearing onstage for the first time in their respective roles, but also to the company s music director, who made it abundantly clear that he was concerned with more than just a feast for the ears and rousing rum-ti-tum rhythms. Rather, Barenboim adopted a more daring, not to say unprecedented, approach to Verdi s score, seeking greater refinement and bringing out darker colours than we are used to hearing. Leonora s entrance aria, Tacea la notte placida , for example, was taken so slowly that one would have been afraid that the singer might run out of breath if the soprano in question had not been Anna Netrebko. The Russian star has such superb breath control that you would think the Staatskapelle were supporting her all the way. The quietest of phrases blossom into life, rising to a glowing top note that then returns to its original volume by means of a particularly bold use of messa di voce, most notably in Leonora s great aria in Part 4, D amor sull ali rosee , where we find the magic of a late bel canto style to which Verdi brought such authentic emotional depth that it is impossible to mock his ideal of beauty as no more than a vocal tightrope act. Rather we can respond to an art that speaks directly to our soul.Peter Krause About the Actor Anna Netrebko confirmed her exceptional status on the operatic Olympus in 2005, when she sang Verdi s Violetta alongside Rolando Villazón at that summer s Salzburg Festival. With Leonora she has successfully completed the bold move to more dramatic roles. Her voice has always been nobly rounded, but now it has gained in body and volume, becoming fuller and darker in tone. The courtesan Violetta, with her dazzling coloratura, and Puccini s lyrically sweet-toned Mimì have evolved into a full-blooded operatic heroine with an emotional breadth that subverts and transcends all the usual operatic clichés.Peter Krause
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