Le nozze di Figaro_Salzburg1995_Act 1-2

[@roswithabaltes4659]

Dmitri Hvorostovsky der beste Graf! Sensationell!

[@nicolamessori3849]

This is one of my favourites production of "Le Nozze di Figaro" by the great Mozart! I litteraly love this!!!! Bryn Terfel is my favourite baritone ever and he's the best Figaro! She's really the best and his Italian diction is just perfect!!!! Roschamann is one of the best Susanna, with Mirella Freni and Cecilia Bartoli! She's really charming! Hvorostovaky is fantastic! I love his voice! But my favourite singer here is Solveig Kringelborn! She's WONDERFUL, FANTASTIC!!! Her Countess is one of the best! I love her! Her voice is very beutiful and she is pretty beautiful too!!! She has also a really perfect diction as Terfel! I love her in Mozart (she's my favourite Donna Elvira too) and she's one of my favorites soprano ever! BRAVA SOLEVIG!!! I love Graham's Cherubino! Nikolaus Harnoncourt conducts the orchestra with such a great charm (sometimes a bit slowly but still good)! One of the best "Le Nozze di Figaro" ever!

[@natasasretenovic8903]

Hvorostovsky forever!

[@marymarimarie4017]

Grata por publicar. Não quero perder nada de Dmitri

[@operalove1000]

Muchísimas gracias! Esperaba hace mucho poder ver esta hermosa versión con Hvorostovsky.

[@gianlucamattei264]

❤❤❤❤❤❤❤❤❤❤❤❤ bellissima regia❤❤❤❤❤❤❤❤❤❤❤❤❤❤ molto minimalista ma molto bella come regia❤❤❤❤❤❤❤❤❤❤❤❤🎉🎉❤❤❤❤

[@fenriquealvarez]

I think The slow tempo throughout the whole opera makes it more "lyrical", interesting to hear, Harnoncourt was a fantastic musician. excellent cast.

[@shadowdog1977]

I believe Harnoncourt had a theory that there was a rhythmic pulse throughout the entire opera and all of the tempi were intrinsically related. It is definitely intentional.

[@rafaellogan332]

instablaster.

[@shadowdog1977]

Dorothea was one of the most charming Susannas ever; both vocally and physically. I also very much love her as the Countess.

[@fleurdelis9939]

Michael Travis Risner and Dmitri can take every role and is indimenticabile!💙che voce e presenza!

[@greatmomentsofopera7170]

What a spectacular cast! Roschmann is sensational as Susannah, much more suited to this temperamentally and physically than the countess. Graham, Hvorostovsky, Terfel speak for themselves!

[@94Ryuma]

I concur. Röschmann is impeccable. I wouldn't say the same about Kringelborn though. She is clearly the least convincing in the cast imo.

[@greatmomentsofopera7170]

@@94Ryuma Yes, not a star like the others.

[@grovestand]

I dunno, Dorothea as la Contessa in the 2018 rendition with D'Arcangelo her opposite is mindblowingly powerful. Not to mention utterly hilarious, a perfect adaption to the humors of today. Although i found this because i really wanted to see some of her earlier work. Been binging all of her works, especially le nozze and Die Zauberflöte

[@foki92]

Hvorostovsky was nothing short of a God! R.i.P

[@st14]

Dániel Foki compare his Conte to Thomas Allen’s under Solti.

[@fleurdelis9939]

stoleczna14 Dmitri is unique,no ne ed to compare!

[@foki92]

stoleczna14 I don‘t like to compare singers. Thomas Allen is amazing, but they had very different qualities. I leave the comparison to assholes like This is Opera

[@BaguetteDiscotheque]

The video quality is not great, but he's certainly showing a gratuitous amount of chest in Act I and I am squinting respectfully

[@ЛарисаФролова-в2в]

Великолепный дует соперников -Хворостовского и Терфеля!

[@ВалентинаДощечко]

Спасибо !

[@adventureswithlindylindygs1254]

What an awesome conductor. I would have loved to play for a guy like this. He speaks to the orchestra with his entire body! His hands, his arms, his eyes. Mind you, I didn't watch the opera itself I was just really impressed with the conductor.

[@Hosenrolle1]

Are you serious? He doesn´t speak to the orchestra, he is performing for the audience. Most conductors today think that it´s necessary to jump around. Herbert von Karajan once said, that you don´t have to do that stuff. When you perform a piece everyone should know what he is doing from the rehearsals. Look at Richard Strauss when he is conducting. He isn´t moving at all. He just uses one hand, and still he is considered as a great Mozart-performer.

[@angeliamilanovic6476]

It depends on the temperament of each conductor. I do not believe they can share their passions with the musicians if they try to imitate each other or please all.

[@germanquintero10121946]

MARAVILLOSAS VOCES

[@TimothyCHenderson]

There's something to be said for fast tempi and the energy it creates on stage. I saw a production of Don Giovanni by Opera Atelier in Toronto a few years back, and they intentionally played through it as fast as they could. Sounds criminal but it was the most entertaining evening I've ever spent at the theater; almost like watching a movie even though the attempt was for period authenticity. The performers were always in motion and the comedy accentuated; perfect combination of elements :)

[@isaunder]

THANK YOU! I so much wanted to watch this production! Thank you so much!

[@АндрейМинаев-и2щ]

Отличная постановка. Великолепные голоса и игра.

[@reginapikaljova5174]

Спасибо,Бравооо!!!!!!!!!!!!!!!!!!!!

[@adamantiagrammenopoulos853]

Belíssima

[@Tikilin2010]

Thank you!!

[@stepanvalek3363]

TIL I'm in love with Dorothea Röschmann

[@toomanybytes]

"Cosa stai misurando, caro il mio Figaretto?" I think he was measuring her.

[@mamascarlatti]

Yes, I have to agree, the sluggishness is the only thing that mars this performance. Harnoncourt also adopted a funereal pace in the M22 Nozze from 2006, but at least that fitted in better with the dark production.

[@vickiw3335]

Spectacular cast! I practically fell asleep during the Overture.

[@petergraham8681]

Some of us have the time to know every time a new FIGARO, for example appears on You Tube, who the performers or conductors were or are.& many of us are grateful, PLEASE list the cast & conductors for whatever performances you are providing us

[@gianlucamattei264]

Questa produzione del 1995 fu una produzione a regia scene costumi minimalista fortemente minimalista anche come si vede sia dal punto di vista architettonico scenografico sia dal punto di vista dei costumi così asciutti con un'andatura ovviamente costumistica del 700 ovviamente mantenuta molto bella discreta come regia delle nozze di Figaro una regia punto minimalista come ho detto della nuova gestione amministrativa del festival di Salisburgo..... Comunque come ho detto una buona discreta regia con dei buoni costumi minimalisti in largo stile come ho detto appunto settecenteschi 👍👍👍👍👍👍👍

[@yaelpalombo4093]

♥️♥️

[@angeliamilanovic6476]

Would you know why I could not find until now this production with Dmitri Hvorostovsky although you uploaded it more than 5 years ago? I probabably do not understand how the research works on KZbin. Well, better late than never: thank you very much for this pleasure, Bethanythorn! The voice of Solveigh Kringelborn is wonderful. And I especially like the moment at 47:50 where Figaro makes it clear that he is actually addressing to the count his warning: non piu andrai farfalone amoroso...

[@Amanda-sf3fx]

Bit of a dingy production - Almavivia must have been down on his luck! Very opulent singing though - thank you for posting.

[@TimothyCHenderson]

I'm not a big fan of joyless Nozze productions like the M22 or ROH staging from a few years back. That, coupled with the limpid pace in the M22 version killed it for me. I think full bodied, theatrical chiaroscuro works best. I have nothing against moments of darkness in an opera like Nozze, but it must be contrasted and framed in light.

[@clivegoodman16]

I like the slow tempi. I also like the way the recetivi are sung. I am not sure about the bare sets. This version is much better than the version in which is added an extra character called "Cherubim" who is dressed like Cherubino but has supernatural powers.

[@clivegoodman16]

The dreadful version with this extra character Cherubim was performed in Salzburg 2006. I dislike it precisely because of this extra character, but I notice that like this version the Overture is played slowly and the sets bare.

[@johnthosi3915]

When you are good you are good😅

[@irmar]

It's not a bad performance, musically speaking. I like it, and the cast is really fine. (pity that the Count more handsome and charming than Figaro). I loved the passion in Cherubino's first, almost breathless aria, unlike the stone cold old maids that usually sing the part. The second one, while vocally beautiful, theatrically was less interesting: he kept walking calmly up and down, and the women for much of the time seemed bored. While he was being dressed, the action did not match the libretto, though. As if the director didn't know or didn't care. Such sloppiness really makes me mad. I have serious issues with the director and mostly the costume and sets designer. Again (as in Strehler's version) Susanna is in her underwear (corset and petticoat) in a room where everybody enters freely. Again the "hat" she is so proud of having created is just a frounced nightcap that even I can make. Everybody is without their shoes all the time, including Cherubino. The count receives his villagers bare breasted. And the scenery is a shabby ... barn or something. With barely any furniture, so that the characters must sit on the floor. Has the count lost all his fortune and had to sell? The sparse shabby furniture in the countesse's room is quite rustic, and the chair's back made of twigs. The door to the Countesse's room is just a small and drab opening, almost too short to fit the men, when there is another, beautiful door, just... painted beside it. Everybody (except for Marcellina, interestingly) is dressed in neutrals, mostly creams and tan and drag soft greys. Cherubino's officer garb is off-white! And Figaro sports a beard? And is also almost bare breasted, his shirt fully open, when he goes into the Countesse's room. And Marcellina is not wearing any petticoat and crinoline. What the hell, really!

[@thomasborgsmidt304]

Cherubino has to be without shoes because "he" is measured against Susanna that has to be taller, than "he" is. Besides - many singer use every opportunity to kick off their shoes - Anna Netrebko especially.

[@irmar]

Thomas Borgsmidt That's not a valid reason. One can wear flat shoes, and the other person higher heels if needed.

[@Hosenrolle1]

"The second one, while vocally beautiful, theatrically was less interesting: he kept walking calmly up and down, and the women for much of the time seemed bored." Of course they do! Where in the score is it written that the countess and Susanna are kind of interested in cherubino? Read what they say, they don´t have interest in him, they have their own problems, and didn´t bother about the problems of a young boy in his puberty. In fact, they are just using that boy for their own plans, and then they didn´t bother that he has to go to the military. Susanna and/or the countess interested in Cherubino is just an invention of bad stage directors, the same stage directors that don´t read what Mozart wants his characters to do on stage.

[@irmar]

I also don't think they would go as far as being interested, as they both are in love with someone else. But let's say that they do become a bit hot and bothered, in a playful manner. Sort of liking this attention and adoration from someone whom they consider harmless, therefore fair game for a bit of teasing. How far this is going to show on their faces and actions is, indeed, the director's choice. Susanna: Mirate il bricconcello, mirate quanto è bello! Che furba guardatura, che vezzo, che figura! Se l'amano le femmine, han certo il lor perché. (...) Ehi, serpentello, volete tralasciar d'esser sì bello!

[@Hosenrolle1]

I think those women are not interested in Cherubino at all. He is just a child to them - maybe they find it funny what he is saying, maybe they have some maternal feelings for him. But in his first aria Cherubino sings, that no one hears him. It would make sense if Susanna didn´t really listen to him. In a production from 1956 (can be seen here on KZbin) he sings while Susanna turns her back to him and watches her hat. AND, let´s not forget: both women are using Cherubino for their plans. They know that he has to go to the military, but first they want to use him. He is just a useful toy to them. Did you read the third part of the Figaro-trilogy by Beaumarchais? In it, the countess sent him into the war because she doesn´t want to see him, and he dies on the battlefield. While he is dying, he writes a letter with his blood where he says goodbye to her. The last words are blurred by his tears. Figaro is supposed to be a satire, it should be mean to show how aristocrats are, how kings and counts are. We should not feel for the characters. Remember, the original piece by Beaumarchias was forbidden by the king back then, because it makes fun of them and was considered as revolutionary. Unfortunately most directors today make a silly slapstick-opera of that piece, where everyone loves everyone, and everyone has attraction for everyone. Suddenly the Countess and Susanna are in love with him, without any reason. It has nothing to do with the original. Do you speak german btw?

[@yascilisaowsyj8636]

i thought there was gonna be some waterboating between the lines, judge by the positions of the actors

[@nattie-k8380]

Those tempos... it’s impossible to listen. Like a toothache...endless

[@hugobodiam4065]

Drama was lost by the slow tempo where Cherubino jumps from the window , and surprisingly too fast when Susanna is discovered from the closet.

[@hansmahr8627]

I agree. Sometimes the slower tempi work but in that particular scene, it absolutely doesn't. They're both panicked, running around, fearing that the Count will come back so they have to hurry. That should be reflected in the music. I generally found the second act to be a bit underwhelming, there's a lack of energy and there's not enough interaction between the characters which is always important in opera but in this opera especially. I don't know why so few directors manage to get this right, it's not difficult to do.

[@chipichipichapachapa733]

Why isn't anyone clapping, ever?? :D

[@mediolanumhibernicus3353]

Because they’re asleep

[@roberthanff4354]

Interesting production. In spite of unusual tempi, I do like Harnoncourt conducting. However, Bo Skovhus' harsh voice and dreadful pronunciation are truly intolerable. Simon Keenlyside, where were you at the time?

[@94Ryuma]

except Bo Skovhus is not in this production. It's Dimitri Hvorostovsky

[@TimothyCHenderson]

Blergh... I truly dislike Harnoncourt's choice of tempi. The drama just limps along, what a muddy mess. Too bad because the performances are, for the most part, fantastic. I think Mozart's comment on Clementi would also work here: "Clementi is a charlatan...He marks a piece presto but plays only allegro." :/

[@takeshitedada4595]

The conductor is very unstable in the tempo, not reflecting Mozart's intention. Poor performance.

[@Hosenrolle1]

So what exactly are Mozart’s intentions?

[@mediolanumhibernicus3353]

@@Hosenrolle1 And there was silence over the land......