Haendel - Alessandro with Max Emanuel Cencic (Opéra Royal de Versailles) | Act 1/3

[@non-resortthailand4548]

Max Cencic & Franco Fagioli are top absolutely.

[@h.k9697]

Handel was the greatest composer of dramatic, choral and vocal music of all time. His operas are a delight.

[@valtergilenardi2639]

La Sigla della Champions League for example. 😊❤ Handel is Divine ✨🎇🌌🙏❤

[@user-ol1ib1ss2b]

The battaglia sinfonia near the beginning is incredibly magnificent!

[@riohenry6382]

I don’t understand why this hasn’t been released on dvd (with subtitles). Anyone with me ? Enough user support can make miracles happen

[@libtucker]

Yes, would love to see this with Italian subs.

[@Chompchompyerded]

And now you know why Handel was considered the best dramatic composer of his time.

[@wilhelm-z4t]

Ich würde sagen, das Beste aller Zeiten.

[@jcui5007]

Blows your senses with beauty.

[@mikeg2924]

Speaking of miracles, these voices are, well, pretty miraculous.

[@bobbyoldsmith9425]

The voices are lovely. No cringing here. Like in many opera performances lately.

[@serenaluce]

Fantastic! I have this amazing CD. Now I can watch the whole production in HD. Great Cencic! Bravi tutti! Thanks for posting.

[@TotalBaroque]

Thank you for your comment! We're glad you like it! :)

[@tirthamaitra1413]

❤❤❤❤❤👍👍👍 from India 🇮🇳🇮🇳

[@HoseynVosouq]

Magnificent

[@dmedilicious8488]

Greatest performance of Alessandro

[@marianaivanova2671]

Fantastic! Thank you!

[@Paulkazey1]

Wonderful!

[@floridante15]

Handel forever

[@valtergilenardi2639]

Handel forever ❤😊

[@sandrafailla3586]

che incantesimo !

[@sana11sana19]

Прекрасная опера шикарные голоса,моя самая любимая!💖💖💖💖💖💖💓💓💓💓

[@italovasquez5508]

What a joy. Mr Cencic as always amazing

[@italovasquez5508]

And mr Sabato as well, impecable.

[@mereyeslacalle]

Soberbio Max Emanuel Cencic ! Händel es..........Händel . Bravo !!!

[@goochchuang]

Amazing! Can't wait to see the rest.

[@TotalBaroque]

Second part is already available here: kzbin.info/www/bejne/Y6iup5utlpqHrNU :)

[@goochchuang]

Total Baroque already watched it this morning! 😉 Eagerly waiting for the final act tomorrow!

[@jcui5007]

My god! Superb!

[@silvia57845]

nádhera...♥

[@ТатьянаПерминова-ф2ч]

Брависсимо! 👋👋👋👋👋✨🌿✨💐✨💐✨💐✨💐✨💐✨🌿✨🌹🕊️🌹🕊️🌹🕊️🌹🕊️🌹🕊️🌹🕊️🌹🕊️🌹🕊️🌹🕊️🌹🕊️🌹🕊️🌹🕊️🌹🕊️🌹🕊️🌹🕊️

[@kel2580]

I make room for others and some have a sound that is so sweet until you fall for what they offer you, but there is no one who could give you that penetrating sound of pure baroque you desire to hear it, you must be able to feel what's coming your way and only G. F. HANDEL can give you what you need to be jettison back to a time of sexy, joyful and fulfilling baroque music. Just feel it!

[@MariaBasilio-d4k]

Os cantores são ótimos,mas gostaria de ver esta ópera maravilhosa com as imagens cénicas da época!

[@cristiangonzalezsafstrand6442]

❤❤

[@josepmaria6959]

Great. Great. Thank you.

[@TotalBaroque]

Glad you liked it! Second part is already available here: kzbin.info/www/bejne/Y6iup5utlpqHrNU :)

[@pedromontano9387]

Hermoso

[@ssoomee]

As always, I'm grateful, but no subtitles? I usually like to read along to what they are saying as well as appreciating the beautiful music!

[@rossklatte7073]

Yes, some of us have grown accustomed to following the Plot (such as it may be) over the last 50 or 60 years of opera telecasts by reading subtitles. 2½ hours is a long time to go along in the old-timey clueless way.

[@tonyvillamotte4339]

Fer goodness' sake! Opera librettos are available online in translation to 897,879 languages, so just google it!!! How computer illiterate can you get?

[@JackieLanceTenor]

@@tonyvillamotte4339 well it does take away from it a bit when you have to stare at a separate tab or separate device the entire time. But please, more rude comments from you!

[@DaviSilva-oc7iv]

@@JackieLanceTenor I felt irony in his comment.

[@vasilisakojina447]

💐💐💐

[@reginaldsawyer2945]

Is this performance available on dvd?

[@liane58]

Subtitles please!

[@pedromiguel2675]

Réponse à @chriscarson2547 Je partage votre avis. Il y a eû dans les dernières années un usage abusif du registre de haute-contre. Et encore quelque chose de pire : le sopraniste. On en est arrivés à ne pas concevoir une représentation lyrique sans intervention d'au moins une ou plusieurs hautes-contres, ce qui changeait nottament le sens de la musique et l'intention de l'auteur du livret et du compositeur. Händel, Mozart et Gluck sont arrivés très loin dans la recherche de l'expressivité pour leurs personnages. C'est à dire, ils ont été déjà très proches de la sensibilité romantique. Donc feindre de les interpréter correctement d'après la mode baroque a été une imposition arbitraire. L'usage Rococo en était à distribuer les divers rôles d'un opéra sans peine ni souci d'authenticité dramatique. Sur la scène lyrique baroque le caractère sexuel des voix n'avait pas d'importance. Cela n'intéressait personne. Et puis il y avait aussi la mode des castrati, cruelle pratique ayant à l'origine l'interdiction aux femmes de participer dans les oeuvres de musique sacrée, puisque on les considérait impures. Ce qui permet de comprendre la préférence pour les voix blanches des enfants et des hommes disposés à un tel effet. Dans les oeuvres de nos musiciens favoris appartenant à des époques plus proches à la nôtre, on y trouve encore cependant une certaine trace subsistante de telles moeurs. Des Messes de Mozart où le registre de soprano est tenu par un enfant, et de même des rôles franchement travestris, comme le Cherubino des Noces de Figaro, le jeune officier romain Sextus dans La Clémence de Titus, Octave dans le Chevalier à la Rose, le jeune page Oscar dans Le Bal Masqué, Siebel dans Faust de Gounod... Dans le cas particulier de certains opéras romantiques, on se demande parfois si un tel ou un tel autre personnage ont été conçus pour un ténor ou plutôt pour une haute-contre : les exemples les plus éloquents sont l'air du brave Massaniello "Du pauvre seul ami fidèle" de La Muette de Portici d'Auber et l'ahurissant air d'un romantisme échevelé mais merveilleux, Magische Töne de La Reine de Saba de Karl Goldmark, opéra qui fût très célèbre à son époque et maintes fois représentée en Europe Centrale. Dans les années '60 un phémonène spécial apparut en Angleterre : la surprenante remise du registre de haute-contre réussi au seul moyen de la technique : Alfred Deller père, dont la voix blanche était d'une appréciable beauté. Son fils a repris le registre et le répertoire du père avec la même excellence technique. Ils avaient des voix blanches mais au très beau timbre. Je me demande pour quelle raison ont ne diffuse presque jamais leurs enregistrements. Bref, au long du XXème. siècle les interprétations lyriques s'appuyaient bien davantage sur le plan affectif me semble-t-il que sur la recherche d'effets vocaux spéciaux à l'intention du style décoratif des vocalises baroques. Si vous voulez connaître les deux airs cités, de La Muette de Portici d'Auber et de La Reine de Saba de Goldmark, vous trouverez ces deux passages par KZbin parmi les interprétations d'un seul ténor : Nicolaï Gedda. Uniquement Gedda est parvenu, avec sa technique éblouissante, à envisager ces deux airs "tue-ténors" et en réussir une excellente performance. Alfred Deller père, je crois, avait enregistré aussi une excellente version de l'air de Massaniello de La Muette d'Auber, sans que je sache dans quel album figure-t-elle et que j'aie pû la retrouver. Merci.

[@rafaelcarvalho3928]

Perfetto!!!!

[@jds516]

9:06

[@Paulkazey1]

Can we buy this on dvd?

[@sana11sana19]

Кверрп!!!!!!!💖💖💖💖💖💖

[@jean-marievallet8405]

Subtitles? Please

[@wendygreenhouse5412]

Where's Act II??

[@olgaerler4111]

Черная неосвещенная сцена. Мало что видно... но музыка отличная.

[@christianwouters6764]

Why this obession of dressing baroque opera in modern clothing? It's a cliché for at least 40 years already.

[@johnmanno2052]

Music is fun. Staging is not. It's supposed to be a.... battle?!? Why the f*** is everyone STANDING AROUND?!??! *Sigh* Modern ideas about staging opera kinda suck

[@tonyvillamotte4339]

Another idiotic baroque opera staging. It's a pity, really, because the performance itself is so good. Handel - nor most if not all - Italian opera composer-impresarios would never have used ballet like this; it was a French thing and as many things as Handel picked up from the French composition-wise, ballet was not one because it was too expensive to hire extras with talent other than walking onstage, doing a simple mime if needed when there, then walk offstage again. The kind of hopping around we see here doesn't even belong in French opera of the day because that kind of aerobic exercise would have been deemed inelegant in the extreme.

[@megenberg8]

alright. waited too long for the lead to appear. the 20th c dress is distracting, pedestrian, drab, and entirely uninspiring, and as such, is inconducive to joy and detracts from pleasure (but that might be just moi)! i wish that this trend would end... its taking decades! the artistic merits yet stand but not at all as it could be! what is nice about the video here is Cencic. the costume and manner is perfect and quite amazing! i could NOT KEEP THE SMILE FROM MY FACE ! ! it is truly a wonderful thing to be uplifted during an opera! Cencic has a great way of making opera entertaining and alot of fun!

[@blairribeca5858]

Opera staging is the last place the hideous modern soul can express itself in this art form.They call it being "creative" so we must all genuflect.We are lucky they haven't yet attacked the music in the same spirit but just give them time.Check out Opera Atelier up in Toronto;they keep the ol'time religion.

[@h.k9697]

Shut up, man. Handel was not Italian, and his operas are very different from other Italian operaists. Handel had a unique style, a mixed synthesis of Germany, Italy and France. Handel learned a lot from the Hamburg opera. You don't write like he was Italian. Handel set himself apart from his contemporaries by employing choreographed instrumental music to complement and reinforce the emotional impact of his operas. Of his fifty-three operas, no fewer than fourteen -- including ten written for the London stage -- feature dances (french influence)

[@mimigoodcat4950]

They could have put more effort in the design for the enemy warriors.

[@maitestorchi2497]

Pas pu regarder plus de quelques interminables minutes, l'ennui m'a rattrapée, désolée....

[@jesuslozanofuentes5123]

Y eso? No será el momento de tu vida? Está música es perfecta como es, nosotros somos los que no coincidimos en el tiempo y el espacio con la energía con la que se creó, el mayor privilegio de un ser humano es saber para que vino a este mundo identificando sus talentos poniendolos al servicio de los otros, Handel lo consiguió ahora la pregunta es, y nosotros?

[@georgiodegrenoble8675]

Comme toi, la mise en scène est tellement ... que l'ennui contamine tout le reste.

[@ledude4146]

Excellent

[@jimmywalsh6701]

👌👏

[@annefrank1]

Dear Opera House, I'd be happy if you're playing my new opera. it's 'Anne Frank opera', 'Evgeny Van Gogh' opera, '9/11' opera. I'd like to be conductor of my own music, because it's all written by me, the music and the libretto. I'm granddaughter of Verdi, Beethoven, Mozart Chopin, Prokofiev and Tschaikovsky. I am also a great pianist and singer. Julia Sergeevna Grigorian Grimaldi Monegasse Windsor Habsburg Bourbon Thurn and Taxis

[@StefanHabischKomponist]

Its played like Rameau but its Handel. Too fast, and too hard like other things in this time. I know many Artists today have Problems to play German Composers.

[@Marcel_Audubon]

amateurish choreography

[@chriscarson2547]

I'm sorry but the counter tenor as a whole thing just needs to go away. Get me a trousered female alto please.

[@Marcel_Audubon]

Yeah, they can lose the trouser roles, too - just transpose them to the tenor voice, they're a distraction being sung by a dame or a counter tenor

[@jaspion3167]

9:03