Michael Colvin Vidéos
Dernière mise à jour
2024-04-24
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Maria Bengtsson Brahms Ponte Gustavo Dudamel Peter Mattei Miah Persson Ying Fang Luca Pisaroni Pisaroni Lea Desandre Chloé Briot Dorothea Röschmann Michael Colvin Christophe Mortagne 1785
Les Noces de Figaro compte parmi les opéras les plus emblématiques du répertoire. Brahms en parlait comme d’un « miracle » et la plainte de la Comtesse résonne encore aujourd’hui comme une des pages musicales les plus déchirantes. En reprenant la comédie de Beaumarchais qui fut à l’origine d’un scandale qui mit en émoi toute la société parisienne, Mozart et Da Ponte s’assuraient leur réussite. La pièce avait même été interdite par Joseph II en 1785 au Théâtre de Vienne. Devait-elle trop exposer sur le devant de la scène les contradictions d’un régime déjà vacillant, prêt à sombrer avec la Révolution française ? La nouvelle production de Netia Jones conserve l’essence même de la pièce de Beaumarchais en questionnant avec humour mais non sans espièglerie les rapports humains, dans une production qui vient confondre réalité et fiction au point de se demander, comme le Comte : « Jouons‑nous une comédie ? » Informations sur (http•••) Mise en scène Netia Jones Direction musicale Gustavo Dudamel Avec Peter Mattei Maria Bengtsson / Miah Persson Ying Fang / Anna El-Khashem Luca Pisaroni Lea Desandre / Emily D'angelo / Chloé Briot Dorothea Röschmann James Creswell Michael Colvin Christophe Mortagne Orchestre et Choeurs de l’Opéra national de Paris
Jérémie Rhorer Joseph Kaiser Malin Byström Byström Sophie Karthäuser Andrew Foster Williams Foster Pizarro Robert Gleadow Michael Colvin Beethoven Bozar
LE CERCLE DE L'HARMONIE Fidelio Joseph Kaiser Florestan (tenor) - Malin Byström Leonore (soprano) - Sophie Karthäuser Marzellina (soprano) - Andrew Foster-Williams Don Pizarro (bass) - Robert Gleadow Rocco (bass) - Michael Colvin Jaquino (tenor) - Mischa Schelomianski Don Fernando (baritone) - Le Cercle de l'Harmonie , Chœur Les Eléments The young conductor Jérémie Rohrer conducts Beethoven's only opera. This groundbreaking work, one of the masterpieces of opera, reveals a little-known aspect of Beethoven. It is imbued with the spirit of liberty, so dear to the composer and to his contemporaries. The love between Leonore and Florestan triumphs over tyranny and hate in this powerfully dramatic opera, whose heroes takes on a mythical dimension. / Subscribe to BOZAR here : (http•••) Like BOZAR on Facebook: (http•••) Follow BOZAR on Instagram: (http•••) Follow BOZAR on Twitter: (http•••) Discover more activities: (http•••)
Sir Edward Elgar Harvey Grace Colvin 1879 1917 1920
Adam Wilson performs Edward Elgar's Solemn Prelude 'For the Fallen' , Op. 80, no. 3 (arranged by Harvey Grace on the 1879 'Father' Willis/Harrison & HArrison organ of St Mary's Episcopal Cathedral, Edinburgh. (http•••) At 11am on 11th November 1920, King George V unveiled the new cenotaph in Whitehall, London, while an abridged version of Sir Edward Elgar's 'For the Fallen' for orchestra and chorus was performed. Taken from the larger oratorio 'The Spirit of England', Op. 80 (1917) which sets wartime poems by Laurence Binyon, 'For the Fallen' uses Binyon's famous poem of the same name as the climax of the work. The 'Ode of Remembrance' traditionally recited at Remembrance events is taken from this poem; though these words are not heard in this arrangement by Harvey Grace, they reverberate through the very essence of the music. Though Elgar was famous for his nationalist music (such as his Pomp & Circumstance Marches and Imperial March), Solemn Prelude 'For the Fallen' shows remarkable restraint in its personal tenderness and stately sorrow. Elgar, encouraged by his friend Sir Sydney Colvin and Binyon himself, seemingly felt it was his duty to compose "a wonderful Requiem in the spirit of Binyon's poem" that might console and inspire those left to mourn such devasting loss. The prelude is a grotesque slow-march in which distant fanfares wake those in the trenches. A very noble melody then trudges through an extended crescendo but, instead of a climax of prideful triumph as might be expected, the yearning melody arrives retreats back into rest as the march subsides.
Opéra Monte Carlo Theater Bonn Orchestre Philharmonique Monte Carlo Jon Vickers José Cura Laccio Britten Ann Petersen Petersen Peter Sidhom Carole Wilson Micaëla Oeste Tineke Van Ingelgem Michael Colvin Brian Bannatyne Scott Diana Montague Philip Sheffield Sheffield Hobson Visconti 2018
JOSÉ CURA's New Production / "PETER GRIMES"-- Opéra de Monte-Carlo in Monte Carlo, Monaco in February 2018 The prodigious JOSÉ CURA performed the title role and directed the staging, the sets, costumes and beautiful lighting. / THE HISTORICAL EVENING / In the face of so many perfections one must consider that this spectacle will be included among the historical evenings of the Monegasque scene. / Metamag, March 2018 . JOSÉ CURA's NEW PRODUCTION, "PETER GRIMES" Opéra de Monte-Carlo in Monaco February 20, 23, 25, and 28 in 2018 Stage Director, Sets & Costumes Designer, Light and Peter Grimes At the beginning of 2018, JOSE CURA's New Production / "PETER GRIMES" moved from Bonn to Monte Carlo, to equally remarkable acclaim. Opéra de Monte-Carlo...February 17th, 2018 / This work is one of the exceptional shows of the 17-18 season of the Monte-Carlo Opera. To carry out the character of this opera, it needed a man with exceptional qualities: JOSÉ CURA. The Argentine tenor will play the title role and also deploy his many talents by signing the staging, sets and costumes. Conductor: Jan Latham-Koenig Director: JOSÉ CURA Sets,&,Costumes Designer: JOSÉ CURA Lights: JOSÉ CURA & Benoit Vigan Choir director Stefano Visconti Orchestre Philharmonique de Monte-Carlo Opera de Monte-Carlo Choir Peter Grimes: JOSÉ CURA Ellen Orford: Ann Petersen Capitaine Balstrode: Peter Sidhom Auntie: Carole Wilson. Nièce 1: Micaëla Oeste Nièce 2: Tineke Van Ingelgem Bob Boles: Michael Colvin Swallow: Brian Bannatyne-Scott Mrs Sedley: Christine Solhosse Rev. Horace Adams: Philip Sheffield Ned Keene: Trevor Scheunemann Carter Hobson: Michael Druiett A MAGNIFICENT "PETER GRIMES" A magnificent ‘Peter Grimes’ at the Monte Carlo opera... After a series of sold-out performances at the Bonn opera (co-production), Peter Grimes premiered at the Salle Garnier on Friday, 23 February. Tenor JOSÉ CURA, adored by the Monegasque opera scene, interpreted the title role while taking care of the staging, the sets, and the costumes: the result was a pessimistic vision of a fishing village on the east coast of England that Dickens would probably not have rejected. / Musicologie OPERA SEEMS TO BE A TOTAL ART The Monte-Carlo opera has produced for the first time Benjamin Britten’s "Peter Grimes," a work of disturbing beauty. The prodigious JOSÉ CURA performed the title role and directed: impressive! Cura draws a portrait of a poignant humanity, and his commitment is total. He directed the staging, the sets, costumes and beautiful lighting. More than ever, opera seems to be a total art. / Fragil JOSÉ CURA CREATED A SATISFYING PRODUCTION JOSÉ CURA designed an exemplary show. The artist assumed a protean role, singing the title role, directing, setting the stage and designing the costumes. He was able to create a satisfying production because he understood the scope of the complex psychology inherent the role. The ensemble was encased in good-taste classicism, the movement of the crowd was natural without awkward poses, and the star tenor approached the hero by giving him the nuances of a Lord yron, a sort of an uncultivated intellectual who seemed animated by a poetic gift. / Podcast Journal A FEAT AND A MASTERFUL EVENING Thus, in just a few words can we sum up this outstanding production of ‘Peter Grimes’ that was shown for the first time at the Monte Carlo Opera. The feat was accomplished by Argentinean tenor JOSÉ CURA; this "protean artist," also a renowned conductor, assumed staging, sets, costumes and lighting for this production, while incarnating the eponymous character— a particularly overwhelming job! We can only bow to this extraordinary performance, especially the quality in all areas. The rotating stage was particularly clever and functional. / Metamag THE CONCEPT WORKED PERFECTLY ON A TURNTABLE TO QUICKLY VARY ITS ASPECTS The Monte Carlo Opera presented Britten’s opera ‘Peter Grimes’ whose insistent and oppressive intensity is perfectly rendered. JOSÉ CURA, both directing and starring in the title role in this production, offered a classic and literal point of view on the work, whose purpose, still very modern, does not need updating to find echo today. The Prologue puts Grimes on the stage in front of a white curtain on which are projected the other characters in shadows. The rest [of the action] takes place in a building doubling as the tavern and the church, above which looms a kind of lighthouse that serves as Grimes’ home. Installed on a turntable to quickly vary its aspects, the concept worked perfectly. / Ôlyrix
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