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L'Incoronazione Di Poppea [DVD]
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商品の説明
Almost four decades before creating his Poppea, Monteverdi wrote in the preface to his fifth book of madrigals, “The modern composer must create his works solely on the basis of the truth” – a credo to which the music of his final opera is utterly faithful. Poppea is a potent work from opera's first true creator and pioneering genius. The fact that, at the close of this highly charged ‘dramma in musica’, he allows evil to triumph over good (albeit temporarily), has frequently led to his being decried as amoral. Monteverdi's timeless masterpiece, which creates a modern, deep involvement in performers and audiences alike, is brilliantly captured in this High Definition live recording of Pierre Audi's moving and beautifully styled production from Het Muziektheater Amsterdam. Cast Cynthia Haymon (Poppea) Brigitte Balleys (Nerone) Michael Chance (Ottone) Claron McFadden (Valletto) Heidi Grant Murphy (Drusilla) Ning Liang (Ottavia) Les Talens Lyriques; Christophe Rousset Production Company: De Nederlandse Opera Stage Director: Pierre Audi Disc Information Catalogue Number: OA0925D Running Time: 219 minutes Sound: DTS Surround; LPCM Stereo Aspect Ratio: 16:9 Anamorphic Subtitles: EN, FR, DE, ES, IT, NL
登録情報
- アスペクト比 : 1.78:1
- メーカーにより製造中止になりました : いいえ
- 言語 : 英語
- 製品サイズ : 19.69 x 14.61 x 1.35 cm; 181.44 g
- EAN : 0809478009252, 0080947800925
- 商品モデル番号 : 2Videos
- メディア形式 : クラシック
- 発売日 : 2005/8/1
- 出演 : Haymon, Balleys, Chance, Rousset
- 字幕: : 英語, フランス語
- 言語 : カタロニア語
- 販売元 : Opus Arte
- ASIN : B000AMMSR6
- ディスク枚数 : 2
- カスタマーレビュー:
他の国からのトップレビュー
Poppea is a study in moral ambiguity, and every character in every scene contributes something to the unsettling of our moral expectations. Nerone is either an effective tyrant or a lewd fool. Ottavia is either a spurned faithful wife or a vengeful fury. Ottone is either a weakling love-sick puppy or a shrewd opportunist. Seneca is either the ideal Renaissance stoic or a fatuous sycophant. And Poppea? As totally she she seems to triumph in her incoronation, the audience of Monteverdi's time would have known their Roman history well enough to realize that in a few short years Nerone would repudiate her and stomp her to death with his lead-soled sandals. They'd also recall that Ottone survived Nerone to become one of the four ephemeral emperors in the Year of Four Emperors; he was no moral paragon, even by Roman standards. Nerone and Poppea are despicable humans for two and a half acts of the opera, and then sing the most sublime, heart-wrenching, convincing love duet in all of music!
The cast for this performance includes a fair share of the best baroque singers alive, even in the smaller roles, Sandrine Piau for instance singing Damigella and Dominique Visse the comic-relief role of the Nurse. There are no weak spots in this cast vocally. My only reservation is dramatic; the casting of Brigitte Balleys as Nerone seems to restrict the conviction with which the character can be portrayed. I would rather have watched a countertenor - Philippe Jaroussky or Gerard Lesne, for instance - toss off Nerone's arrogant tantrums. On the other hand, Harry van der Kamp as Seneca is brilliant casting. Seneca's death scene is, along with the concluding duet, the musical and dramatic core of the opera, and van der Kamp dies splendidly.
The instrumental ensemble is, if anything, even closer to absolute perfection than the vocal cast. Two cornettos, two recorders, three violins and two violas entwine their florid wreaths of melody around the recitativos of Giovanni Busenello's poetic libretto. Since most of the opera is in fact recitativo rather than da capo aria, the color and character of the basso continuo is supremely important, and Les Talens Lyriques doesn't scant a note. The continuo includes organ, harpsichord, lute, theorbo, harp, cello, violone, and viola da gamba, an amazing panoply of timbres.
I saw and heard the Los Angeles Opera performance of this same production, and the disappointments of that occasion make it even clearer to me how excellent the original in Amsterdam was. The opera was cut in LA; particularly the part of Seneca was stupidly truncated. The cornetto obbligatos were re-assigned to teh violins, and the continuo was not nearly as varied. All significant mistakes! This opera is too tightly constructed to be cut in any fashion. And to do it without cornettos is being criminally stingy!
Les Talens Lyriques has also produced a breathtaking performance on DVD of Monteverdi's Orfeo, which I've reviewed previously. Now there is a box set of Christophe Rousset's stagings of Monteverdi's three operas, plus the operatic madrigal Tancredi e Clorinda. Truly we live in glorious musical times!
My view of this opera is somewhat jaded by a wonderful production with Nikolaus Harnoncourt conducting at the Zurich Opera House. If this dvd of the Amsterdam Opera production had been my first experience with The Coronation of Poppea, I would have been thrilled. The parts are well sung and in some cases exceed performances in the Harnoncourt version. This is especially true of the Ottone part. Michael Chance managed to communicate the heart ache of Ottone and also the great beauty of the music he is given to sing.
The part of Seneca is sung powerfully by bass Harry van der Kamp. The role would have been even better played, in my eyes, if the singer had been made to look older. He seemed a bit young for being an old sage.
On the Amsterdam Opera production a woman sings the part of Love. Sandrine Piau sings the messenger role for Love very nicely, but I missed hearing a boy sing. Cynthia Haymon played and sang the part of Poppea beautifully. She plays it as a strong woman and seems more powerful than Nerone. Brigitte Balleys sang the Nerone part well, but I greatly missed having a countertenor sing that role. The mezzo-soprano may be closer to the castrato voice that the part was written for, but I found the two women's voices too much alike. It was hard to tell their voices apart when the camera was not zoomed in on their faces. Nerone ends up seeming to be a weak character. This is not the case when he was sung by Eric Tappy. Tappy managed to portray Nerone as the mad man that he was and yet contribute mightily to some of the loveliest love duets ever written.
In spite of not having a boy singer for Love and not having a male singer for Nerone, this version of Poppea is quite enjoyable. It is a pleasure to see the various possibilities for the staging of this great opera. Christope Rousset and Amsterdam Opera worked hard to make this an authentic production and it does achieve that. The staging is simple and voices are kept close to original parts.
This dvd sounds good and plays well on a widescreen television.