George Frideric Handel - Flavio, re de' Longobardi | Bayreuth Baroque Festival 2023

[@TotalBaroque]

Glad you all liked this performance. Do you already know our Polifemo-opera, also with Julia Lezhneva as Galatea? kzbin.info/www/bejne/b6momJeKfNCFsJY

[@vitanaumaviciene3175]

Thank you very much, I'm watching now. And I watched the opera Alexander in India maybe 10 times already. Amazing.

[@stefanstamenic3640]

Deserves to be regarded as a masterpiece. Flavio is an anti-heroic comedy with tragic undertones. Flavio's music thrives on opposing emotions, which are somewhere between tragedy and farce, irony and pathos. Extra bellisima: 1:37:15 Aria (Guido) - Rompo i lacci, e frango i dardi 1:44:54 Aria (Flavio) - Chi può mirare e non amare 2:06:44 Aria (Emilia) - Ma chi punir desio? l’idolo del cor mio 2:41:00 Aria (Guido) - Amor, nel mio penar deggio sperar

[@robertocuban]

Totally agree with your comment. A masterpiece on par with Partenope

[@miltontelescabarbosa9373]

A assisti ontem a noite com subtítulos em português. Maravilhosa apresentação operistica. Parabéns a todos os participantes e sobretudo a Julia Lezhneva a qual teve uma apresentação sublime tanto como cantora quanto como atriz.

[@albertoguidi9812]

credo di non avere mai ascoltato questa splendida opera

[@evalinnert7736]

🎉ich auch nicht, bis heute ❤aber wir leben noch und können viele wunderbare Werke von Maestro Händel in neuesten Interpretationen ,wie die hervorragende von Julia L hören. Also Viva ...

[@taf44tt8io]

C'è un'altra versione, diretta da Réné JACOBS (credo che addirittura la "resuscito'" dal solito oblio che tocca a molte opere) ed edita nel '92. Da notare, tra le cantanti, Bernarda Fink.

[@valtergilenardi2639]

Finalmente un'altra Meravigliosa Opera del Mitico Handel 😊❤

[@robertocuban]

This is much better than the two commercial recordings, the music and the tempo is better played here,full of life and energy. Bravo Tutti.

[@candidaspinelli]

Uno spettacolo di una bellezza sublime curato in ogni particolare, voci bellissime, costumi, direzione d'orchestra, livello altissimo, un vero piacere ❤❤❤

[@antoninopirrone2541]

Fantastico!!! 💐🌺❤️❤️

[@MixerTWS]

A million thanks for this! I downloaded this excellent performance last year from the web-page of the German TV station that carried it. Naturally, it had German subtitles. To be able to replace it with English titles is a Bonus!

[@Majkami]

Total Baroque you are doing a great job ✨👍🏻✨⭐⭐⭐⭐⭐ Thanks you very, very much and best regards ❣️

[@urivilents1268]

Великолепная постановка Юлия Лежнева просто чудо Спасибо Спасибо

[@Людмила-ш5ю6в]

Thanks,thanks❤❤❤❤❤❤❤❤

[@Людмила-ш5ю6в]

10000000000thanks❤❤❤❤❤

[@patrickmergl885]

1:09:00 - Brava Lezhneva 1:28:42 - wow, lo spettacolo

[@vitanaumaviciene3175]

Julia labai tinka šiai rolei ir taip pat tinka barokui. Puikiai ir dainuoja ir vaidina. Žiūrėjau su dideliu malonumu.

[@franckranaivo666]

DIEU🌹🇻🇦✝️🇻🇦🌹 ACCUEILLEZ DÉSORMAIS DANS VOTRE PARADIS📚🎶🌸🤗⛑🍒,L'ÂME IMMENSÉMENT CHRÉTIENNE de Monsieur de HAENDEL 🪢🌿✒📃🎶💒🥰🌸🌍🧸🌹🏵🕊💫🍋🧭📚💛🌼🕯🦁!!!

[@ledermauricio4197]

❤❤❤❤

[@archiereece8321]

42:08

[@tempiodihorus4916]

Handel avrebbe voluto intitolare quest’opera « Emilia » ma temeva una confusione con un’altra opéra di Bononcini (del quale era rivale) che si chiamava « Erminia » e che fu rappresentata nella stessa stagione teatrale. Ottima la scelta della cantante che interpreta il personaggio femminile principale : la soprano Francesca Cuzzoni-Sandoni detta la _Parmigiana_ era proprio come lei, bassa di statura e bionda, con eccezionali doti vocali

[@taf44tt8io]

Come si usa (e magari già si usava allora ?) ; è nelle botti piccole.... Non conoscevo questo particolare, ovvero l' EMILIA già composta dal Bononcini. Certo che avere come rivale un certo HANDEL.... Julia Lezhneva è una cantante con i fiocchi. E la "nostra" Francesca Aspromonte - anche se il registro vocale è diverso - non è da meno. Di entrambe; oltre alla tecnica impeccabile, mi piace la musicalità, il colore della voce e l'immancabile sensualità a tutto tondo che sprigiona dal loro canto.

[@mirjamdevries9376]

Conosco pochissimo le opere barocche. Ne ho solo ascoltate alcune ultimamente. Sono divertenti, la musica è stupefacente, e qui i cantanti-attori sono bravissimi. La messa in scena è molto accurata e bella da vedere, un po' "maliziosa ", come Handel stesso l'avrebbe voluta.😅💯

[@vivianbelissima]

👏👏👏👏👏👏

[@artistwithasoul8159]

Please, please, what is this aria called at 26:58? I love it but I can’t find the name :/

[@vsevsad9376]

Benchè povera donzella (Teodata)

[@artistwithasoul8159]

@ thank you ;)

[@OGrauMusic]

The sound recording is terrible. I'm using some nice big amplified Yamaha speakers and the sound is of poor quality, unlike other videos on KZbin where the sound can be heard throughout my house.

[@fiv3277]

It's a recording of live opera what do you expect?

[@robertocuban]

I would love for this to be released as a dvd or blu ray it would be big hit, does anyone know if there are plans for a release?

[@verenaguran3293]

Endlich wieder einmal eine Inszenierung, die Schönheit und Bedeutung, auch Leichtigkeit, verbindet.Keine " heutige" , politisch verschmierte Pseudotiefe.

[@mikeg2924]

So I think the staging (direction) is really weird. I mean the boring, dark, and monochromatic sets, and those flipping fans, and all the other ridiculous stage business, come on. But I love the costumes, and the singing even more!

[@taf44tt8io]

This direction is not only weird; it's a shame and ridiculous. Must give to the audience - and some sponsors - what they want for their eyes and....

[@tempiodihorus4916]

Qualcuno potrebbe dirmi il significato della donna Che canta accopagnata da un tiorbista nel primo atto ? Grazie

[@anunconstitutionalchickenw9731]

Does anyone know what the piece at 2:34:40 is ? I didn't find it in the score and it sounds like an older italian piece from the 1680s written by someone like Legrenzi or Draghi.

[@fan2jnrc]

Boring as hell. I will never understand how people can put themselves through 3 hours of all these interchangeable baroque drags? Especially when so many wonders of the 19th century are forgotten and never recorded or performed.

[@frankm6938]

Cencic may be a great countertenor but he is no stage director. Handel did not write any of those scene changes for this opera. After the first two or three they get pretty dang tedious. This production is just terrible. The singers are ok, especially Lezhneva who takes liberties with the music during the da capo, shamelessly.

[@helenaconstantine]

Why does the nun have bat ears? Why does the princess or whatever she is have a phone?

[@tempiodihorus4916]

I think it was « fashionable» at the time, in the 1670´s-1720’s (I remember I seen a few years ago a portrait of a nun with the same « bunny ears » ) 🐰🤷🏻‍♂️

[@helenaconstantine]

So they couldn't balance the microphones recording the singers and the orchestra? Please tell me they didn't put individual mikes on the singers?

[@dbadagna]

It would be even better if the vocalists would refrain from the use of anachronistic constant wide vibrato, thus performing in properly historically informed manner.

[@ШуманнХайнк]

The vibrato is the only way to sing. It's mechanism involved in proper intonation. In opera and in singing in general. It is an absolute technical nessesity. The vocal cords can not function properly without vibrato on any dynamics exept pianissimo. The problem is those "voices" in the "perfomance" are not properly produced. They have no proper vibrato. And they all are have terrible intonation. And are very weak. The true voices of XVIII were very loud and very clear. And, yes, they had good, proper vibrato! Anyone can know that. To read what was written in baroque times you don't need much... Baroque English, for example, is almost modern.

[@dbadagna]

@@ШуманнХайнк It wasn't constant or wide in the Baroque period (as was also the case for the accompanying instruments).

[@ШуманнХайнк]

@@dbadagna the proper vibrato is not wide. It has standart characteristics. To sing opera, the vibrato should be present in avery sustained vocal tone. The closest to the true baroque sound of contralto was the voice of Oralia Dominguez. Soprano would sound like Emmy Destinn. They had perfecty developed and united registers and good vibrato action. Nothing like modern days contras) Big clear agile and smooth true sound with good intonation. One wouldn't think their vibrato is offensive. That is how voices should be thained to sing baroque music in it's true glory. Modern "baroque voices" are not trained that way. In fact... there is no need to pay for the vioce lessons to sing like modern countertenors of sopranos. It is extremely throaty and out of pitch all the time. All badly produced voices has no real sence of pitch. It is not how one can sing highly difficult lines of Handel or Porpora, or Monteverdi... It's such a shame to hear good instrumental interpretations of this music in matters of tempo and musicality, but with voices that couldn't produce the tone, without clear intonation. And without true emotional expression, becouse the expression is directly connected to the sound production.

[@dbadagna]

@@ШуманнХайнк No it shouldn't be constant, if singing Baroque music; it should be used sparingly, only where necessary, in ornamental fashion. This is borne out by the historical record (and, of course, vocalists singing Baroque music should more or less match the accompanying instruments in terms of their ornamental vibrato usage and width).

[@dbadagna]

@@ШуманнХайнк In this video, Oralia Domínguez uses vibrato ranging from around 250 cents (between a major second and a minor third) to nearly 400 cents (a major third). Nothing close to this would have been used in operatic singing during the Baroque period; instead, a narrow, modest vibrato ranging between perhaps 10 and 30 cents would have been used, sparingly and in ornamental fashion rather than on every long note. v=Aq-97-U6IiM

[@franceseattle]

Absolutely preposterous and vulgar staging.