Final Scene of UN BALLO IN MASCHERA: Piotr Beczala sings "Ella è pura: in braccio a morte"

[@myongsooklee9773]

Magnifique et magnifique !!!👍👍👍👍👍

[@keesweijens2497]

Bij het draaien vanaf 3.09 minuten komt voor mij het mooie waarin ik alle gevoelens zo hoor spreken dat het me moeite kost om niet repeat te draaien aan te zetten, dit is zo wonderlijk mooi en ik snap niet dat dit soort composities tegenwoordig niet meer te maken zijn, dan zijn het toch goden of misschien halfgoden geweest die dit componeerden.

[@gerardmignon700]

Une pure merveille.

[@davidmehnert6206]

Oh my gosh. what a wonderful Riccardo (King of Sweden) in Piotr Beczala. I’m always reminded of what pains, what truths, Verdi wrestled with, quite apart from the issues presented by the censors of the late 1850s. But I’ve always thought that the decision to transfer the opera’s setting from Europe to Boston (of all places!), to thinly veil King Gustavus’ homosexuality in a relationship to his page Oscar (played by a coloratura soprano, although ultimately this relationship is unconsummated and for all purposes, largely irrelevant), and above all, to redesign what was by then a well-worn and familiar historical fable - and to make of it a tribute to, and defense of, a misunderstood mistress and perfected love ideal (Amelia), scorned by the various courtiers and conspirators but nevertheless ultimately spared, over the course of the opera’s complex workings, by the actions of the King and his seemingly divinely-guided efforts to open Amelia’s eyes to the low, dishonest motives of her own husband, who himself had plotted and intended to kill her - and ultimately to have the dying/dead/transfigured King (rising on a Stairway to Heaven in this production) address a gathered congregation to extoll Amelia’s injured innocence - as ultimately serving itself as a deeper, prophetic, eternal fable that instructs us to this day of our societal priorities, the vindication of woman in her (all-too-human) frailties and anguish. In the words of Riccardo (the King) from this finale scene: Tu m’odi ancor. Ella è pura: in braccio a morte Te lo giuro, Iddio m’ascolta: Io che amai la tua consorte Rispettato ho il suo candor. You must listen to me, She is pure: in the arms of death, while God hears my words, I swear it. I, who loved your wife, respected her purity. As we all certainly must!! And let the King rise to Heaven, on the heels of fhe prophetess who preceded him.... Let it be Him who has the last word!

[@paoladatodi8626]

il letto presente in tutta l'opera? Ma soprattutto: dobbiamo immaginare che lui sia già morto, c'è il suo corpo a terra e poi messo sul letto, e chi canta e si muove è il suo spirito? Non è del resto una novità, es.in molte regie del Rigoletto così avviene di Gilda... E abbiamo capito, Ulrica, che lo attende sulla scala, è in realtà la Morte! Perciò onnipresente in tutte le scene, e perciò lui si è sentito turbato al vederla la prima volta! Può essere un'idea, ma è tutto troppo cervellotico. Beh, i cantanti sono bravi, chiudiamo gli occhi ed ascoltiamoli...

[@Perrosiutico]

Troppo cervellotico per metà!

[@Perrosiutico]

How come Gustavo is still on his feet? Did they assassinate the wrong guy? And nobody disarms Renato/Ankarstrom? he's still got the gun in his hand! Nice singing , but who staged this mess?