Handel | Agrippina [Full Opera]

[@LOICFRANCOIS-Quineditmotsconse]

Sur l'œuvre d'handel: original et intemporel, rare de pouvoir combiner les deux, sans doute le contexte de sa naissance. Sur cette mise en scène, superbe ! Drôle, légere, moderne, qui traduit donc bien les qualités de l'œuvre d'handel ! Juste bravo

[@LOICFRANCOIS-Quineditmotsconse]

Merci ! Une pépite d'humour ! Bravo !

[@HarpsichordVinylGallery]

You spoil us with these wonderful integral performances :-)

[@confusedflourbeetle4734]

beautiful

[@fayelychnou6334]

Thoroughly enjoyed this! I thought the staging was fresh and funny. Great performance by all! Warm thanks to everyone!

[@Paulkazey1]

Divine. My favourite Handel opera. Thank you.

[@davidgurarie6712]

Great fun, nice performance and staging. And good way to dispense with stale pomposity and tedium of conventional baroque staging

[@dion1949]

Using a corkscrew while singing! That is an accomplishment.

[@juanito73167]

La puesta en escena es sencillamente demencial. Una cosa es hacer una propuesta rompedora y vanguardista, y otra hacer el ridículo. ¿Qué carajo hace Agrippina en un cine vacío? Al espectador hay que crearles un contexto creíble, que lo sitúe. ¿Y qué decir de los cantantes? Sin entrar en la calidad de las voces, como actores son una birria. Manera despiadada de tratar una obra maestra como es la Agrippina de Handel.

[@Beach_comber]

In this production Agrippina is a parody of Wasfi Kani. Wasfi Kani set up the original opera company at the Grange. Then she fell out with the owners of The Grange and left, dramatically organising a raid in which she took all the seats away. This is why Agrippina is sitting in an empty theatre. It's her theatre. Later on she smashes it up. At the end of the opera a blue chair is produced and, sure enough, the chairs that replace the ones Kani took away are blue. This production is full of in jokes that make sense to people who know the history of the Grange Festival and of the house. It's brilliant. The opera was originally a satire on the church politics of the day, so why not make a modern production a satire?

[@sergiocd18]

Exactamente, es todo como una crisis de creatividad, originalidad y falta de ideas. Parece que desde Sellars hasta nuestros días los productores de ópera compiten por ver quien llega más lejos, son montajes hechos como si todos los espectadores fueran profesionales de la ópera, y se han olvidado de lo esencial que era entretener. Entiendo que los productores lo vean así y no tiene nada de malo pero el problema es que sólo existe esta clase de producciones. Por otra parte si bien en la música la interpretación históricamente informada hoy es un estándar, es curioso que no suceda lo mismo con el vestuario, la puesta en escena, la danza, la arquitectura y la actuación en sí. La verdad no lo entiendo.

[@talvela100]

I registi dovrebbero essere torturati; riescono a rendere insopportabile la visione di una delle opere migliori di Handel

[@ЕвгенияМартынова-с3з]

Тяжело даже смотреть на это, слушать, впрочем, тоже; только исполнительница роли Агриппины на уровне. Реквизит просто ужасен, так нельзя, это все же- высокое искусство, а не фарс!

[@will8026]

The recitatives are too "sung" with an effort to vibrato on every syllable and that takes away the declaimed quality which is proper. What should come across are mainly the prosodic stresses in the words, the rhythm and the pitch.

[@canman5060]

They don't have cell phone in 1710 !

[@pgxk5]

el pepe ete sech potaxio jijiji

[@dominiccanis406]

I've never understood this need for taking the most refined products from skills and thought based on sound fundamentals and years of practice and dressing it in Postmodernism, a movement that doesn't believe in any fundamentals or even definitions? Why keep doing this? To be hip? For shock value?

[@sepandghanouni2271]

100 percent agree

[@christianwouters6764]

Absolutely. The moment I saw the singers in short trousers I stopped watching. A pity for the magistral music by Händel. Don't understand why the singers, the musicians and all others involved choose to go along with the stupid kitsch obessions of 1 art director rather than highlight their own talents and H's score.

[@pb9548]

Horrifically, needlessly postmodern

[@dudeforcaster8630]

The horror is only compounded by the dreadful singing esp: Aggrippina, who is far and away the worst of them all (and that is saying something).

[@thomasberney846]

A pity - you clearly won't enjoy David McVicar's superb production with the NY Met this year.

[@videomen11]

Sadly a missed opportunity compared to the splendid performances in the Drottningholm Theatre in Stockholm In January 2023. And why the stupid production?

[@Beach_comber]

Perhaps you haven't realised that it's a depiction of Agrippina as Wasfi Kani (including the removal of the seats episode), plus a recounting of some other episodes at The Grange, such as the roof falling in. It's a brilliant production, though I can see why it might be baffling. I was fortunate enough to see it live: fabulous!

[@timajos1]

@@Beach_comber I didn't realise it. Thank you for the tip.

[@valobarroco]

That Nerone sings (sounds) horrible!!!

[@thesaucegroup1877]

Agree. Needs a pure clean countertenor like Iestyn Davies

[@valobarroco]

@@thesaucegroup1877 Even though I love Iestyn's voice, I think a sopranist should be ideal, because Nerone role is in the soprano range.

[@thesaucegroup1877]

@@valobarroco Of course, you're right. A good clean high countertenor would be bliss.