Tchaikovsky: Iolanta (Иоланта) Complete (English subtitles)

[@QueenCityOperaQCO]

Introduction: 0:39 No 1: 3:13 No 2: 12:02 No 3: 14:16 No 4: 20:04 No 5: 32:11 No 6: 39:50 No 6a: 45:25 No 7: 49:47 No 7 actual duet: 56:25 No 7 duet famous melody: 1:06:24 No 8: 1:11:44 No 9: 1:23:48 No 9 Iolanta's entrance: 1:30:44

[@Dylonely_9274]

Thanks.

[@luchikvcarstve]

I'm russian and I'm just admired, even shocked of these brilliant voices and perfect pronunciation of singers who are obviously not russian speakers. How was it possible to learn such long text for them, did they took russian lessons? Russian is very difficult language, with dozens of forms of each word due it's grammatical forms, very synonimous, full of differnet metaphors and epithets language. And their voices are just perfect!!! They are worthy to perform on big stages, FOR SURE! I watched many of operas on different big stages including Bolshoi and Mariinsky, and can imagine them there perfectly well!

[@IsaacSelya]

Спасибо! Да. очень сложный язык. We worked on this project for many months, and many of the singers had studied Russian before. In addition, our principal coach, Kseniia Poltiankina Barrad (sfopera.com/about-us/people/bios/adlers/kseniia-polstiankina-barrad/) is a native speaker. She and her husband, our Robert, Simon Barrad (www.simonbarrad.com/) put together a diction guide that we used to prepare. This was an incredible experience for everyone, and the beautiful music and drama made the effort well worth it. Thank you so much for watching!

[@luchikvcarstve]

@@IsaacSelyaThank you for such detailed answer! I appreciate it very much! This performance touched my heart!

[@tylerhay6560]

A really superb performance of one of Tchaikovsky’s less known masterpieces! It’s a gem of an opera!

[@QueenCityOperaQCO]

Thanks so much! I'm glad you enjoy this. This opera inspired me to study Russian. Please consider subscribing if you enjoy!

[@thesilvershining]

I adore Iolanta so much, thank you for performing this gem for your city and for posting it here for us as well ♥️

[@QueenCityOperaQCO]

Thank you so much! This opera made a huge impact on me the first time I heard it, and inspired me to start learning Russian so I could perform it! Please subscribe to the the channel if you would be willing!

[@thesilvershining]

@@QueenCityOperaQCO Of course I will subscribe!

[@papagen00]

Iolanta should be seen more often like the Nutcracker. They were first performed together in 1892 as a double-bill.

[@Dylonely_9274]

I can not agree more !

[@midnight45712]

I didn't know this & have been listening to Nutcracker since early December

[@wm.traynor1143]

What a lovely story that this opera tells. Brava/ Bravo everyone👏👏👏

[@retepsnikrep]

A very accomplished and well sung performance. Thanks

[@QueenCityOperaQCO]

Thank you for watching!

[@mariopavez4107]

Mi querida Iolanta hermosa.

[@QueenCityOperaQCO]

Gracias por ver! Si Usted disfrutó, por favor considere suscribirse a nuestro canal.

[@commiraid8545]

Thank you for posting this!

[@commiraid8545]

Yes , I liked it very much! Especially the voices they are so liric and poetical ! SORRY FOR MY POUR ENGLISH !

[@wm.traynor1143]

What a lovely story. Brava/Bravo, everyone👏👏👏

[@QueenCityOperaQCO]

Thanks for watching! Please consider subscribing to our channel!

[@손정아JeannetteSon]

First performance in Korea was even the year 2004. I was accompanist for whole orchestra part for singers and Maestro at that time… I have good memory of them…

[@QueenCityOperaQCO]

It is such an underrated treasure! Thank you for watching our video and please consider subscribing to our channel if you enjoyed!

[@bramdw731]

ok lets go

[@Dylonely_9274]

- How beautiful do you want your melodies to be ? Tchaikovsky : Yes

[@angusmcrandy]

Iolanta, blind daughter of King René: Raquel González , soprano Marta, Bertrand's wife, Iolanta's nursemaid: Melisa Bonetti, mezzo soprano Brigitta, Iolanta's friend: Shareese Johnson, soprano Laura, Iolanta's friend: Lauren McAllister, mezzo soprano Bertran, doorkeeper of the castle: Junbo Zhou, bass Almerik, armor-bearer to King René: Travis Pearce, tenor René, King of Provence: Stefan Egerstrom, bass Ibn-Hakia, a Moorish physician: Adam Cioffari, baritone Robert, Duke of Burgundy: Simon Barrad, baritone Count Vaudemont, a Burgundian knight: M. Andrew Jones, tenor Scene 1 Princess Iolanta has been blind from birth. No one has ever told her (nor does she know) that she is a princess. She lives in a beautiful enclosed garden on the king's estate, secluded from the world, in the care of Bertrand and Martha. Her attendants bring flowers and sing to her. She declares her sadness, and her vague sense that she is missing something important that other people can experience. Her father, King René insists that she not discover she is blind, or that her betrothed, Duke Robert, find out about this. Scene 2 After announcing the king's arrival, Alméric is warned by Bertrand not to speak of light with Iolanta or to reveal that Iolanta's father is the king. The king arrives with Ibn-Hakia, a famed Moorish physician who states that Iolanta can be cured, but the physical cure will only work if she is psychologically prepared by being made aware of her own blindness. Ibn-Hakia sings the monologue "Two worlds", explaining the interdependence of the mind and the body within the divinely ordained universe, which merges spirit and matter. The king refuses the treatment, fearing for Iolanta's happiness if the cure should fail after she has learned what she is missing. Scene 3 Robert arrives at the court with his friend Count Vaudémont. Robert tells Vaudémont that he wishes to avoid the marriage as he has fallen in love with Countess Matilde. He sings of his love in his aria "Who can compare with my Mathilde" (Кто может сравниться с Матильдой моей). Vaudémont finds the entrance to Iolanta's secret garden, ignoring the sign which threatens death to anyone who enters. He sees the sleeping Iolanta, without realising who she is and instantly falls in love. Robert, astounded by his friend's behavior, is convinced she is a sorceress who has bewitched Vaudémont. He tells him to leave, but Vaudémont is too entranced. Robert departs to bring troops to rescue him. Iolanta awakes and Vaudémont, who asks her to give him a red rose as a keepsake, realizes she is blind when she twice offers him a white one. She has no concept of light, vision or blindness. They fall in love, after he explains light and color to her. Scene 4 The couple are discovered by the king. Vaudémont pledges his love, whether Iolanta is blind or not. Ibn-Hakia tells the king that as Iolanta is now aware of her blindness, the treatment might be a success. Iolanta who has no will to see, is unsure therefore whether she should agree to treatment or not. Ibn-Hakia points out that the lack of will proves that, without inner desire, change cannot take place. After Vaudémont admits seeing the warning sign at the garden entrance, the furious king threatens to execute him for revealing the truth to Iolanta. He tells Iolanta Vaudémont will die if the physician fails to restore her sight, in the hope that this will restore her will. Iolanta is horrified, and agrees to the treatment. After Ibn-Hakia leaves with Iolanta, the king explains to Vaudémont that he was feigning in order to motivate Iolanta. Robert returns with his troops. He admits to the king he has fallen in love with another, but is still willing to go ahead with the agreed marriage. The king cancels the wedding contract, and gives Iolanta to Vaudémont. Ibn-Hakia and Iolanta return. The treatment has worked and Iolanta can see. At first uncertain of her new gift, she eventually sings of the magical new world now visible to her. The court rejoices.

[@GeneralLuigiTBC]

I noticed that the lyrics in this performance are different in some spots from in the recording I have of a different company's production. I did some digging and found that there appear to be two different libretti. While I remember happening across another video that shows a piano/vocal reduction of the score, complete with the lyrics from both libretti whenever they differ (linked below), I've been unable to find out if both libretti were written by the composer's brother or one was written later. I know that at least one Russian opera was altered during the Soviet era to reduce references to the Tsar and God, so I wouldn't be surprised if the more secular libretto used in this performance is likewise a product of Soviet-era censorship. I'm only speculating, though, and have no actual proof that the more secular libretto was or was not written by Modest Tchaikovsky. An Imperial-era copy of the score and/or libretto would probably help clear this up, but regular scores and libretti--let alone of an opera as obscure as Iolanta--are hard enough for me to find online. Score: kzbin.info/www/bejne/iYqxnpRtd9VklZI

[@QueenCityOperaQCO]

Indeed! There are two versions of the libretto. Most versions of the score contain both texts, with the original text by Modest Tchaikovsky above, and with the alternate text in brackets below where alternatives exist (although most of the material is the same between the two version). The score on IMSLP contains both versions (imslp.org/wiki/Iolanta,_Op.69_(Tchaikovsky,_Pyotr)) I am not sure of the exact provenance of the newer version, but I think it originated at the Bolshoi theater some time in the 1960s. It secularizes the action, and also makes some other incidental updates to modernize the language. It is common performance practice for each production to draw on both versions.

[@matthewcush3167]

I think this is not bad at all for a mid-sized opera company. And it's gutsy for them to venture out of the standard repertoire.

[@Vkayfnarod]

Чайковский - Великий композитор!

[@Dylonely_9274]

28:54

[@Dylonely_9274]

1:06:57

[@sleort42]

Wirklich eine hübschen Einakters

[@QueenCityOperaQCO]

Danke fürs Zuschauen. Bitte abonnieren, wenn es Ihnen gefallen hat!

[@ЛораБезгодова]

Подскажите, какой театр поставил мою любимую "Иоланта"? Спасибо? 🎉

[@QueenCityOperaQCO]

Это выступление произошло в Цинциннати! Спасибо за просмотр и, пожалуйста, рассмотрите возможность подписки, если вам понравилось.

[@svetlanabelikova9425]

Хороший способ учить английский язык.

[@QueenCityOperaQCO]

спасибо за просмотр! Please consider subscribing if you have enjoyed!

[@svetlanabelikova9425]

@@QueenCityOperaQCO I subscribed. Thank you!

[@Dylonely_9274]

3:13 Gorgeous

[@geor-5416]

The voices and orchestra are great! However, the chamber opera does not mean absolutely chamber space of the stage, as in a puppet theater. Tchaikovsky is modern, the stage solution of this spectrum is found in the archive. But that is not a plus

[@udohasso6507]

Eine musikalische gelungene Aufführung des hübschen Einakters. Schade, dass die Streicher unterbesetzt sind. Der szenische Eindruck fällt leider weit hinter den akustischen zurück. Nur der ausgezeichneten Raquel González in der Titelrolle gelingt es, einen lebendigen Menschen auf die Bühne zu bringen. Ihre männlichen Kollegen bewegen sich ausnahmslos steif und agieren unbeholfen. Bedauerlich, denn gesanglich werden alle Beteiligten den Ansprüchen ihrer Partien gerecht. Zugegeben, Bühnenbild und Kostüme helfen den Darstellern nicht, im Gegenteil. Trotz dieser Einschränkungen freue ich mich auf mehr von diesem jungen Ensemble.

[@udohasso6507]

Bitte sehr, gerne doch. Ihnen ein aufrichtiges Kompliment für die ausgezeichnete Einstudierung und Ihre engagierte und umsichtige musikalische Leitung. Weiterhin viel Erfolg Ihnen und dem gesamten Ensemble.

[@lyleneff]

Where are the choral parts in the first scene? This is not a "complete" performance. One harp instead of the original two? I couldn't continue watching this after the first 15 minutes of the video.

[@Quotenwagnerianer]

Oh come on... nobody needs the choral parts, they can easily be scrapped and sund by soloists instead. The action doesn't need a chorus, and I'm sure Tchaikovsky only wrote one in because tradition kind of demands that an opera has some choral writing.

[@nataliavladimirova4274]

@@Quotenwagnerianer Я тоже не люблю отступления от авторского текста или музыки. Но здесь это не режет слух и глаз. Возможно труппа очень маленькая. Мне не понравилось то, что врач не одет в арабскую одежду . Арабская одежда обладает магией, так необходимой врачу-исцелителю. Также мне не понравились офицерские формы у рыцарей - они плохо сидели на фигурах. Третье замечание - хоть это и русский композитор, но сюжет взят из Западной Европы .(Франция), а костюмы НЕ РУССКИЕ, а балканских славян. В целом мне понравилось. Хорошие голоса и уважение к тексту!!!

[@Quotenwagnerianer]

​@@nataliavladimirova4274 Я не нахожу ничего плохого в том, что врач одет не по-арабски. Костюмы остальных также больше походили на 18 или 19 век. Если действие истории происходит в Средние века, то арабский врач будет более важен. В любом случае, я считаю, что опера совершенно замечательная. Короткая и лаконичная, с фантастическим любовным дуэтом, который я считаю лучшим у Чайкосвского, а сюжет - вечно актуальный, и, например не так исторически расположен, как, например, "Евгений Онегин".

[@АлександрСтепанов-о3ч]

@@nataliavladimirova4274 какая чушь,привязаться к костюмам. убогое,узколобое мышление и любовь к замшелым трактовкам,отдающим нафталином

[@nataliavladimirova4274]

@@Quotenwagnerianer Не знаю. как к Вам обращаться но за отклик спасибо. Иоланта - это моя любима опера и я рада, что в этой части наши мнения совпадают. Действие оперы происходит в Средние века и переданы принципы средневековья. Исходя из ваших пристрастий все осовременивать предлагаю Иоланту нарядить в пачку или на худой конец в комбинашку с болтающимися сиськами.))

[@userweb-ii8vi]

Видеоряд оперы, представленный актерами в одежде а-ля рюс, входит в диссонанс с обычным здравым смыслом: дочь короля не может быть одета в крестьянский сарафан, чернокожая в русском сарафане нелепа. Развесистая клюква не даёт возможности смотреть и слушать этот вариант оперы.

[@ВикторияСагидова]

What is the cloths?!! Is it dresses of France in 15 century? No, it looks like not even Russia, but Ukraine. And lolanta's vocal is rather dramatic! There must be liric image, because it is liric opera!

[@Docmuromov]

Какой ещё купол неба лучезарный, американцы как бы вроде верующие протестанты а по факту слова поют хер его знает какие, зачем петь эти советские языческие слова , как это глупо, славы достоин только Один Господь и Чайковский изначально написал текст где прославляется Имя Бога что и американцам стоило бы делать но увы из-за языческого текста у меня нет желания их слушать! 🤮🤮

[@ThomasBerger-de6tq]

A boring Opera!

[@ЕленаНиколаевна-ж6с]

Ужасные костюмы.