Riccardo Zandonai - I Cavalieri di Ekebù (2004) Español and Italiano subtitles

[@vincenzomarenghi1660]

Dopo aver ascoltato e visto tutta l'opera,confermo il giudizio positivo già espresso: mi è piaciuta molto. Il finale poi è impressionante per la sua potenza .Presto la riascolterò,per gustarla di nuovo,come ho sempre fatto con le opere che ho apprezzato.

[@401dutchdivas5]

'English subtitles forthcoming.' would be absolutely GREAT !!! I read someone thought this was not a masterpiece.... well, to me this is a splendid work, impressive, dramatic, beautifully performed and sung here. This ia a GREAT verismo opera. I loved watching this, now again with English subtitles, that would be the dream come true ! Thanks for this Nervous Gentleman !!!

[@kiuchu2275]

For English and other language translations, put your cursor at the bottom of the screen. The icon for closed caption (cc) will appear. Click it. Then click the settings icon next to it. Click the bottom choice (auto translate). A whole list of languages will appear. Cursor down and click English. The English translation will appear.

[@vincenzomarenghi1660]

Ho ascoltato e visto finora il 1° atto di quest'opera e,per la prima volta ho potuto seguire con i sottotitoli e comprendere quello che viene cantato e recitato,poiché il libretto è introvabile. Mi sembra un'opera interessante e in molti punti bella,come nel racconto di Gosta,nei cori ecc. Continuerò a seguire gli altri atti; sono sicuro che non mi deluderanno. Quest'opera è degna sorella della più conosciuta Francesca da Rimini,che è tra le mie preferite e di Giulietta e Romeo,anch'essa molto bella.

[@FranciscoFerrerGaliana1930]

Magnifica. Ópera.. Gracias. por los subtítulos..

[@FranciscoFerrerGaliana1930]

Simplemente maravillosa..¡¡¡

[@tebaldoable]

Edizione molto apprezzabile di un'opera che meriterebbe maggior difffusione.

[@mayconzandonai]

Show.

[@vincenzomarenghi1660]

Ho riascoltato quest'opera seguendo attentamente le parole che ho, in parte, ricopiato. .ne sono entusiasta. Zandonai ha scritto, dopo la Francesca da Rimini, un nuovo capolavoro, quello della maturità. Peccato che venga poco rappresentata. Mi sono però accorto che in questa edizione è stata tagliata la 2° parte del 3° atto, che contiene bellissimi duetti. Dove si possono ascoltare?

[@remomazzetti8757]

Zandonai himself removed the second scene of Act 3, and made other cuts. He was convinced that this was the greatest opera he had written so far (and I agree with him!). But it wasn't as successful as he had hoped, so he shortened it. There doesn't seem to be a recording of the complete original version.

[@juliogonzalezcampayo3201]

@@remomazzetti8757 También la excelente grabación de Gavazzeni con Cossotto tiene cortes. No conozco otra.

[@robin678]

Saw this opera at Wexford many years ago. Maybe not a masterpiece, but deserves revivals. Where and when was this performed. Do I recognise Amarilli Nizza? Please advise!

[@Tiffin59]

Yes, Nizza is superb. I'd like a good quality DVD of this production. You are lucky to have seen it at Wexford. it would be good to see a full production in the UK. Maybe Holland Park might tackle it?

[@nervousgentleman9123]

+Tiffin59 I keep meaning to add English subtitles to this video. I do have a complete translation in English. However, I just haven't been able to muster the energy to match the English text to the subtitles that I created several years ago. I usually start with subs in the original language and then go from there, but I've grown rather lazy. The Swedish version of this opera (the first 30 minutes or so is available on my channel with subs) is, in my opinion, far superior to this Italian production. One day I'll get around to finishing the subs to both of these videos. Incidentally, I do have the original DVD (without subs) of this production which was issued privately. If I ever finish the English subs and add them to the DVD, I'll upload it uncompressed to the net and anyone who wants can download it.

[@robin678]

+Tiffin59 If only!!!!

[@andrewzlatoit829]

It was performed in Trieste (Italy) as opening title of the local 2004 season : a young Amarilli Nizza was actually in the cast.

[@andehuang5479]

Teatro Verdi Trieste, with Amarillo Nizza

[@angusmcrandy]

Giosta Berling : tenor Viktor Afanasenko The commander : mezzo-soprano Mariana Pentcheva Anna : soprano Amarilli Nizza Sintram : bass Carlo Striuli Cristiano : baritone Carlo Kang Fuchs : baritone Eldarr Aliev Liecrona : tenor Gianluca Bocchino Hostess : mezzo-soprano Gabriella Bosca A girl : soprano Antonella Rondinone The story concerns a group of vagabonds working in an iron mine for a wealthy and eccentric taskmistress, the Commandante, who has rescued each of them from a shiftless existence and keeps them at work with the aid of a riding crop. The result is prosperity for everyone in the region, and the vagabond miners, whom the Commandante fondly calls her Knight, who live a contented and purposeful existence on her manor of Ekebu. But the Commandante conceals a secret: the source of her wealth was an adulterous affair many years behind her now, hidden from her aged husband and everybody else. She explains this to Gosta Berling, an alcoholic defrocked priest en route to self-destruction. She enlists him among her Knights, partly tempting him with his beloved Anna, who then appears with him in a play that has been staged at the manor as a Christmas Eve treat. As the play proceeds, she admits her love for him. Unfortunately for young love, Anna's father is the wicked landowner Sintram, who is generally believed to be the Devil, a legend he merrily encourages. Sintram despises Gosta as a drunken bum and is outraged when Anna elopes with him under the Commandante's protection. In revenge, he tells the story of the Commandante's inheritance by adultery to the Knights and to her husband. Furthermore, he says that she maintains her power by sacrificing the life and soul of one of her Knights to him, the Devil, each year. Drunk and out of control, the Knights revolt against their benefactress, who accepts this as just punishment for having once slapped her mother. She abandons her wealth to seek penance. She predicts, however, that the Knights will be unable to keep the mine going without her, and she is right: A year later, the town is bankrupt, the Knights have drunk their way to stupid indolence, and a guilt-ridden Anna has decided to leave Gosta. At this moment the Commandante returns, dying. All beg her pardon, Anna returns to Gosta, and at the Commandante's command the Knights rev up the forge, strike their hammers, and sing of the return of their happy lives as the old woman dies.

[@stefaanvanryssen360]

Mediocre libretto, mediocre copy of Puccini, mediocre director at times terrible acting, only Zadonai is to blame.

[@zalba5710]

How is Zandonai responsible for anything but the music (and maybe the libretto?) Also, there is no such thing as „a copy of Puccini“ as Puccini himself is a copy of anything Franchetti, Leoncavallo, Mascagni (and others, including Alfano, Galeotti and Vittadini) wrote about 2 years before his respective works. Zandonai was a Student of Mascagni, and it‘s quite obvious. The only real similarity to Puccini is that Gösta‘s first aria sounds a bit close to Turandot. And I’m not even sure if it’s coincidence as the two were composed nearly at the same time.