私はバレエには詳しくなくむしろクラシックファンです。
オペラは音楽が素晴らしくて見た目はそれなり、時々残念。バレエはその反対。
この作品では歌手と踊り手がいることで両方が満たされるし、キャラクターに二方向からの光が当たることによって深い陰影を感じることができます。
原作オペラの問題なんですが、エウリディーチェの女の愚かしさを殊更強調するところは好きではありません。でもそれを補ってあまりあるこのビジュアルの美しさ!
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Orpheus Und Eurydice (Ws Sub Ac3 Dol) [DVD]
¥3,500 ¥3,500 税込
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商品の説明
Yann Bridard, Maria Riccarda Wesseling, Marie-Agnes Gillot, Julia Kleiter, Miteki Kudo, and Sunhae I'm perform in this 2008 National Ballet of Paris production by Pina Bausch of the Gluck ballet filmed in HD and conducted by Thomas Hengelbrock.
登録情報
- アスペクト比 : 1.77:1
- メーカーにより製造中止になりました : いいえ
- 言語 : 英語, ドイツ語
- 製品サイズ : 19.3 x 14.35 x 1.27 cm; 204.12 g
- EAN : 3760115300446
- 商品モデル番号 : BAC044
- メディア形式 : AC-3, ドルビー, クラシック, 字幕付き, ワイドスクリーン
- 発売日 : 2010/1/26
- 出演 : Miteki Kudo, Maria Riccarda Wesseling, Marie-Agn s Gillot, Marie-Agnès Gillot, Julia Kleiter
- 字幕: : 英語, フランス語, ドイツ語, スペイン語, イタリア語
- 言語 : 英語 (Dolby Digital 5.1), ドイツ語 (Dolby Digital 5.1), ドイツ語 (PCM Stereo)
- 販売元 : Bel Air Classiques
- 生産者 : François Duplat
- ASIN : B002QXI2L8
- ディスク枚数 : 1
- カスタマーレビュー:
他の国からのトップレビュー
A. Finzi
5つ星のうち5.0
Opera straordinaria
2024年1月21日にイタリアでレビュー済みAmazonで購入
Ho comprato questo DVD usato perché introvabile e devo complimentarmi con il venditore (e anche con chi lo ha posseduto in precedenza) per la perfetta conservazione: come nuovo!
L'opera è davvero straordinaria, grandissima Pina Bausch 🔝
L'opera è davvero straordinaria, grandissima Pina Bausch 🔝
Marie-Gina
5つ星のうち5.0
Traumhaft schönes Meisterwerk!
2014年11月3日にドイツでレビュー済みAmazonで購入
Diese ganz und gar überirdische Choreografie der unvergessenen Meisterin des Tanzes, Pina Bausch, berührt bis in die tiefste Seele, sogar Menschen, die sonst mit klassischer Musik und Tanztheater gar nicht viel am Hut haben. Ich habe diese großartige Opern-Ballett-Aufführung seinerzeit im australischen Fernsehen zum ersten Mal gesehen und war einfach nur hingerissen, habe die Welt um mich herum vergessen: Begnadete Tänzer, wundervolle Musik, innige Stimmung, der man sich gar nicht entziehen kann. Nach meiner Rückkehr habe ich sofort die DVD gekauft und kann mich seither immer und immer wieder daran erfreuen.
Diese Aufnahme bekommt von mir 100 von 100 Punkten: Uneingeschränkt empfehlenswert!
Gina Collmann
Diese Aufnahme bekommt von mir 100 von 100 Punkten: Uneingeschränkt empfehlenswert!
Gina Collmann
José María Canalejas
5つ星のうち5.0
Fantastic
2013年1月7日にスペインでレビュー済みAmazonで購入
Como todo lo que hizo Pina: una obra maestra, insuperable! ¿Por qué resulta tan complicado encontrar más obras suyas publicadas?
J. Faulk
5つ星のうち5.0
A perfectly beautiful farewell from the internationally acclaimed choreographer/director Pina Bausch (1940-June 2008)
2010年2月11日にアメリカ合衆国でレビュー済みAmazonで購入
Dance (in bare feet) overshadows the singing in this production of the operatic masterpiece by Christoph W. Gluck premiered in 1762. His goal was "noble simplicity" and he concluded with a happy scene in which Amor revivified dead Orpheus and twice-dead Eurydike to resume their love. This production, however, respects their death.
The three principal roles are movingly danced and sung by Yann Bridard & Maria Riccarda Wesseling (Orpheus), Marie-Agnes Gillot & Julia Kleiter (Eurydike), and Miteki Kudo & Sunhae Im (Amor). The singers appear onstage and remain in character. Orpheus appears throughout, and Eurydike dances in the last two scenes. Most dramatic are the emotionally charged corps and chorus. The costumes designed by Bausch's romantic partner Rolf Borzik (died 1980) for the 1975 premiere are marvels of fluidity (thanks of course to execution by the current costume department). The excellent filming and editing was overseen by Vincent Bataillon.
THE SCENES
(1) Introduction & (2) Grief. At audience-left in a high chair is Eurydike (?) in a white shroud/wedding dress, blood red roses in her lap, looking down passively on her burial site. Black-garbed mourners, more women than men, cringe and twist beneath a black sky, in strict adherence to musical beat. Their arms and hands are in relentless motion, outdancing their feet. At audience-right, Orpheus, in "nude" briefs, stands rigid, before a brown uprooted cedar skeleton. Then he lies face down before a great laurel wreath. The mourners file off, and he rises to dance an agonized solo as he beseeches the gods to return his dead loved one. Thus appears Amor, who tells him he can invade the Underworld and reclaim Eurydike but must not look into her face. [Here, as well as in Scene 3, Ms Bausch is remarkably creative in distributing her dancers over the width and depth of the stage and animating the subgroups with different activities.]
(3) Violence. In the anteroom to hell three leather aproned men alarm the denizens, some in winding sheets. The music is demonic. Orpheus enters. One woman carries a yarn basket, and white skeins (the thread of life) intersect the excited corps. But Orpheus' beautiful lyre melody elicits a change, and merciful passage beyond the bronze door to his lost bride.
(4) Peace. Women in palest pink dance silkily to the music of blessed souls in a peaceful subterranean meadow. From among them Eurydike, now a contented shade, emerges for a beautiful solo. Orpheus enters and looks for her, then realizes she is behind him as she takes his hand, and he leads her away.
(5) Death. The great stage is enclosed by towering walls dwarfing the characters. Orpheus leads Eurydike in a flame red dress, not yet beyond the province of hell. Their vocal counterparts are onstage and the soprano expresses Eurydike's rising indignation because Orpheus inexplicably will not so much as look at her. Eurydike's extended solo is like a flame darting, swirling about the stage. Pushed to his edge, Orpheus finally turns to her, embraces her, she dies in his arms. Her vocal counterpart falls to the ground, his vocal counterpart kneels beside, Orpheus lays his Eurydike atop her double, and retreats to a far corner. The mezzo-soprano then dominates the stage, still kneeling, for 8 minutes singing "I have lost my Eurydike." (This stasis did seem overlong to me, and lessened the dramatic impact.) In the ensuing silence, the three aproned beings appear and take the life of Orpheus, the music resumes and mourners appear. The body of Orpheus is placed at significant remove from Eurydike's, failing to assure us husband and wife will ever embrace again.
AT CALLS...
the enthusiastic audience metamorphoses into rhythmic clapping. Also, finally the Balthasar-Neumann Chorus assembles onstage, and leader Thomas Hengelbrock is led on to sweep his BN Ensemble to their feet--both chorus and musicians have certainly demonstrated artistry perfected. Then Pina Bausch is brought on to roaring appreciation. Looking frail but strong in spirit, she was to die four months after this filming.
FOOTNOTE
Rather than the usual plastic case, the DVD is held inside the back cover of a colorful 36-page book in English, French, and German. The opera is sung in German and subtitles are available in these three languages as well as Spanish and Italian.
The three principal roles are movingly danced and sung by Yann Bridard & Maria Riccarda Wesseling (Orpheus), Marie-Agnes Gillot & Julia Kleiter (Eurydike), and Miteki Kudo & Sunhae Im (Amor). The singers appear onstage and remain in character. Orpheus appears throughout, and Eurydike dances in the last two scenes. Most dramatic are the emotionally charged corps and chorus. The costumes designed by Bausch's romantic partner Rolf Borzik (died 1980) for the 1975 premiere are marvels of fluidity (thanks of course to execution by the current costume department). The excellent filming and editing was overseen by Vincent Bataillon.
THE SCENES
(1) Introduction & (2) Grief. At audience-left in a high chair is Eurydike (?) in a white shroud/wedding dress, blood red roses in her lap, looking down passively on her burial site. Black-garbed mourners, more women than men, cringe and twist beneath a black sky, in strict adherence to musical beat. Their arms and hands are in relentless motion, outdancing their feet. At audience-right, Orpheus, in "nude" briefs, stands rigid, before a brown uprooted cedar skeleton. Then he lies face down before a great laurel wreath. The mourners file off, and he rises to dance an agonized solo as he beseeches the gods to return his dead loved one. Thus appears Amor, who tells him he can invade the Underworld and reclaim Eurydike but must not look into her face. [Here, as well as in Scene 3, Ms Bausch is remarkably creative in distributing her dancers over the width and depth of the stage and animating the subgroups with different activities.]
(3) Violence. In the anteroom to hell three leather aproned men alarm the denizens, some in winding sheets. The music is demonic. Orpheus enters. One woman carries a yarn basket, and white skeins (the thread of life) intersect the excited corps. But Orpheus' beautiful lyre melody elicits a change, and merciful passage beyond the bronze door to his lost bride.
(4) Peace. Women in palest pink dance silkily to the music of blessed souls in a peaceful subterranean meadow. From among them Eurydike, now a contented shade, emerges for a beautiful solo. Orpheus enters and looks for her, then realizes she is behind him as she takes his hand, and he leads her away.
(5) Death. The great stage is enclosed by towering walls dwarfing the characters. Orpheus leads Eurydike in a flame red dress, not yet beyond the province of hell. Their vocal counterparts are onstage and the soprano expresses Eurydike's rising indignation because Orpheus inexplicably will not so much as look at her. Eurydike's extended solo is like a flame darting, swirling about the stage. Pushed to his edge, Orpheus finally turns to her, embraces her, she dies in his arms. Her vocal counterpart falls to the ground, his vocal counterpart kneels beside, Orpheus lays his Eurydike atop her double, and retreats to a far corner. The mezzo-soprano then dominates the stage, still kneeling, for 8 minutes singing "I have lost my Eurydike." (This stasis did seem overlong to me, and lessened the dramatic impact.) In the ensuing silence, the three aproned beings appear and take the life of Orpheus, the music resumes and mourners appear. The body of Orpheus is placed at significant remove from Eurydike's, failing to assure us husband and wife will ever embrace again.
AT CALLS...
the enthusiastic audience metamorphoses into rhythmic clapping. Also, finally the Balthasar-Neumann Chorus assembles onstage, and leader Thomas Hengelbrock is led on to sweep his BN Ensemble to their feet--both chorus and musicians have certainly demonstrated artistry perfected. Then Pina Bausch is brought on to roaring appreciation. Looking frail but strong in spirit, she was to die four months after this filming.
FOOTNOTE
Rather than the usual plastic case, the DVD is held inside the back cover of a colorful 36-page book in English, French, and German. The opera is sung in German and subtitles are available in these three languages as well as Spanish and Italian.
I. Giles
5つ星のうち5.0
Very fine dramatic concept successfully combining opera and dance
2011年12月2日に英国でレビュー済みAmazonで購入
This ballet was created in 1975 but was then dropped from the repertoire until 1991 when it was revived. This revival was the result of close collaboration between Pina Bausch and the original dancers, Dominique Mercy and Malou Airaudo whereby the original ballet was painstakingly pieced together and reconstructed fragment by fragment. Early operas, such as this by Gluck, were frequently performed with extensive dance episodes and this is a similar idea but in reverse with the singing used to reinforce the dance.
Essentially this very familiar story is very simply told and is all the more effective as a result. The story is re-enacted through dance and portrays the changing relationship between Orpheus and Eurydice as the nature of their love for each other is finally tested to destruction. This situation is constantly reinforced by two singers who sing Gluck's music which mirrors the story being illustrated by the dance at any one time. This is a close collaboration and achieves a very powerful synthesis. There are some off-stage choral sections as well and these are similarly linked to the dance action. The story in this version does not include Orpheus's final fate of having to wander the earth before being torn limb from limb by the Maenads but ends instead with the unresolved deaths of Orpheus and Eurydice.
For me the tragic story in this format reaches a conclusion that can only be described as even more harrowing than usual. In a way, this could be described as a dance drama with singing. There is nothing here to offend purists from either dance or music camps and much to gain for both. The staging is minimalist but totally effective in so far as it does not detract from the very stark message of the narration. The corps de ballet reinforce the narrative with danced re-enactment of the described events as they unfold. The two lead roles of Orpheus and Eurydice, as performed by Yann Bridard and Maria Wesseling, fully convey the increasing levels of distress and despair of the two as they make their fated return journey to the land of the living only to fail at the last hurdle.
The music is presented in both high quality 5.1 surround sound and stereo and the camera work provides clarity and detail without being invasive or destructive of the production. This is a powerful concept and is performed with both sympathy and skill and there seems little chance of a choice of performances being offered to future purchasers. However, bearing in mind the excellence of this production, it seems unlikely that it would be significantly improved upon. For those who are attracted to the program, this should give a great deal of satisfaction and it would therefore seem to reasonable to rate this as a clear 5 star issue.
Essentially this very familiar story is very simply told and is all the more effective as a result. The story is re-enacted through dance and portrays the changing relationship between Orpheus and Eurydice as the nature of their love for each other is finally tested to destruction. This situation is constantly reinforced by two singers who sing Gluck's music which mirrors the story being illustrated by the dance at any one time. This is a close collaboration and achieves a very powerful synthesis. There are some off-stage choral sections as well and these are similarly linked to the dance action. The story in this version does not include Orpheus's final fate of having to wander the earth before being torn limb from limb by the Maenads but ends instead with the unresolved deaths of Orpheus and Eurydice.
For me the tragic story in this format reaches a conclusion that can only be described as even more harrowing than usual. In a way, this could be described as a dance drama with singing. There is nothing here to offend purists from either dance or music camps and much to gain for both. The staging is minimalist but totally effective in so far as it does not detract from the very stark message of the narration. The corps de ballet reinforce the narrative with danced re-enactment of the described events as they unfold. The two lead roles of Orpheus and Eurydice, as performed by Yann Bridard and Maria Wesseling, fully convey the increasing levels of distress and despair of the two as they make their fated return journey to the land of the living only to fail at the last hurdle.
The music is presented in both high quality 5.1 surround sound and stereo and the camera work provides clarity and detail without being invasive or destructive of the production. This is a powerful concept and is performed with both sympathy and skill and there seems little chance of a choice of performances being offered to future purchasers. However, bearing in mind the excellence of this production, it seems unlikely that it would be significantly improved upon. For those who are attracted to the program, this should give a great deal of satisfaction and it would therefore seem to reasonable to rate this as a clear 5 star issue.