C'est toi?-C'est moi - Kate Aldrich & Jonas Kaufmann - Carmen finale

[@nantericable]

On ne se lasse pas d'ecouter cet opéra

[@operaFan-tn8ng]

Oh my goodness! This is fantastic ❤ Jonas Kaufmann has me in tears with his amazing performance of this des😢perate man.

[@Alagueesia]

Perfection. Amazing how she can play the fear so well, and yet still be able to sing so perfectly, and how he seems so desperate, so angry, so threatening. Amazing duo.

[@elisabethcanseco6068]

Kaufman meha gustado mucho como has cantado la proivida,❤❤❤❤❤❤❤

[@dunrob36]

This is incredibly sensual and beautiful. Both are superb actors and great great singers. Bravo.

[@amparodiaz-canejarodriguez9521]

Uj

[@willemtates8232]

It is Bravi 🎼🌷🌷🌷🌷🎼

[@arankaneumann-kd1iv]

Kaufmann egyedülálló, ének és színészi előadásban !👏🌹🎶

[@egometacsmedical]

Fantastic acting! Both of them!

[@winifredtrout1]

It's superb!!!

[@cristinapalermo3569]

Superb!!

[@MariettaFelino]

genial!!!!

[@utefranke9241]

In dem Musikmagazin Opernwelt stand damals zu lesen, diese Oper müsste eigentlich nicht Carmen, sondern Don Jose heissen, so intensiv war Jonas Kaufmanns Interpretation gewesen. ❤ Ich hatte damals die ganze Aufführung im Fernsehen gesehen und fand das ganz richtig. Er war fantastisch, aber sie auch. ❤

[@winifredtrout1]

I like the French subtitles...I can sing it!!!!

[@luthereric5205]

bravo Maestro Mikko Franck. tonique et mélodique. Enjouant Carmen et cast de luxe.

[@janethu9169]

It’s You, it’s Me.

[@pilarpaco6569]

Fantastic duos

[@AndrewRudin]

What IS she wearing????

[@operaFan-tn8ng]

😂😂😂😂😂

[@danafripp4120]

Nope. Sorry. For me, this is the kind of production that says right away the director doesn't trust the power of Bizet's score, is hungry to "make a 21st century statement," and feels the need to indicate and predict coming events on behalf of the audience. Instead of allowing great singing actors to live it out moment by moment, letting the finale build to its final jarring conclusion, invasive concepts, and a lot of unnecessary symbolism, were forced upon it. There's so much dramatic intensity in moments of distance and restraint - and the music! My word! It gives us everything. Don José shouldn't put his hands on Carmen until well into this duet (at least wait until, "Laisse-moi! Laisse-moi!"). He believes he's still motivated by love, until she finally says "No. I don't love you anymore," at which point we really get to see he's a desperate, unstable man. Carmen is independent and assertive, but she's not some whore fighting off her pimp. She's trying to establish autonomy by maintaining physical distance from him. Why was there a need to have Don José strip off Carmen's garment? We already know she's trapped and vulnerable. It's not Luke raping Laura. It's not Ike and Tina. C'mon. This should not come off like some overworked primetime drama. Their final confrontation should metaphorically mirror the bullfight that's happening in the stadium right behind them. I don't know. For me, the music is GLORIOUS, the story is solidly enveloped in the composition. In this case, the dramatic personnel is exceptional. Sometimes, directors need to back off, and let the story do its job.

[@danafripp4120]

Look at the power in the restraint and distance between Baltsa and Carreras - until he finally snaps. kzbin.info/www/bejne/kHvXqomLdrVml80

[@p.b4287]

Opera always adapts with time. If not, it would be already extinguished. Check versions of 100 years ago, there is a huge difference because we expect life in another way they did before. It would be deadly boring.

[@instantopera]

This part is so f****n difficult to sing, especially after all that hapens before. Much admiration for Kaufmann !

[@LiyaRayn]

Nice tenor! Nice singer and actor ! Beautiful soprano , but production ..,is so-so.,,

[@DavidAsset78]

Great singing but what a Eurotrash production.

[@silvr94]

yes, let's have the same kind of productions we've had for the last 100 years repeated over and over again

[@orion8835]

This looks like an argument in a high end department store or an upscale hotel lobby. Weird.

[@candalalala]

I want her dress. it’s so pretty.

[@60bui]

GOOD STRIP!!!!!!

[@zuzanakovacova4415]

60bui i

[@winifredtrout1]

Wonderful.. I liked Jose Cura very much...but wasn't he a baritone??

[@rozalyan4923]

Прекрасный голос.Мне она понравилась в роли Амнерис....в "Аиде"

[@MagaliDamonteVocalCoach]

Tres beau mais c est une soprano 2 pas une mezzo elle finira avec des rôles soprano dramatiques pour notre plus grand plaisir d ailleurs

[@shirleyrombough8173]

I love this but qu'esce que c'est Eurotrash? Pardon my poor French.

[@p.b4287]

Eurotrash? I hope you are kidding. This is French Opera.

[@ESilva-gw9ig]

Sorry to say but this is utter rubbish. I like both singers, but neither one is good enough in this performance. And the setting is dreadful. Bizet deserves more respect. This is not Carmen. Modernity is killing opera.

[@allebarea306]

I agree. But Elina Garanca and Roberto Alagna's modernized Carmen was pretty good.

[@p.b4287]

I like them both. If opera does not evolve, it will extinguish

[@mk5244]

....people seem to like it . I doesn’t make this singing any better. Non mi piace.

[@elie124]

eh oui pauvre c..

[@sergiobuccianti4224]

Che voce cupa caro Kaufmann ,sembra avesse una noce in bocca...lasciamo perdere tutto il resto del brano ma un "Venere splende" così brutto non lo avevo ancora ascoltato.