Verdi ''JERUSALEM'' Renzetti -Gasdia-Luchetti-Carroli-Fondary; Paris 1984

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''Jerusalem''
di Giuseppe Verdi.
Con:
Renzetti
Gasdia
Luchetti
Carroli
Fondary
Parigi,1984

[@jackvanderheijden375]

Schitterend!!!!!!!!❤❤ 10000000000 x bedankt youtube❤❤❤❤❤❤❤

[@cimbassovr]

Mamma mia VERIANO LUCHETTI che meraviglia!!!ARTISTA SUBLIMEammirato molte volte anche dal vivo all Arena di Verona. Veramente straordinario.In ogni interprtetazione che ha fatto ha lasciato un segno indelebile. Tanta tanta Commozione nel rivederlo.Grazie

[@mirjamdevries9376]

Carroli mozzafiato!!! Gasdia timbro dolce ed emozionante, come sempre! Luchetti acuti celestiali, recitazione appassionata! Messa in scena bellissima e travolgente! Al giorno d'oggi, con i registi pazzi che circolano, ce la sogniamo una scenografia così, oppure la guardiamo qui su youtube! ❤❤❤❤❤❤ Grazie di cuore per questo video.

[@giusepperuggeri6372]

Luchetti Veriano interprete supremo .GLORIA DI TUSCANIA.GRANDE TENORE

[@lz43p15]

Lucchetti e Carroli strepitosi.

[@mirjamdevries9376]

Carroli semplicemente fantastico! Non ho parole. 💯💥

[@romearomeo]

Un'edizione fantastica

[@gabriellafiabane8144]

grandisssssimo luchetti

[@normanzurich2781]

Madonna la Gasdia è sempre calante 😮 🥬🥚🍅

[@harrywatnik7833]

Easily the best item on the You Tube menu- a tremendous offering ty!

[@ilnormannorichard5554]

Luchetti un vero tenore italiano.

[@jackvanderheijden375]

❤❤❤❤

[@cliffgaither]

What magnificently eerie music !

[@georgeionita7307]

I did not hear this opera before . But any opera by Verdi îs a masterpiece . This version in Paris îs charming . All singers are very Good . I like the final îs not too tragic .

[@remomazzetti8757]

This is Verdi's 1847 revision of I Lombardi. Like Rossini and Donizetti, he decided to present himself as a composer of French grand opera by revising an existing work.

[@teresaortis]

Meravigliosi! Tutti

[@JohnMartin-ux2rm]

Veriano !!!!!

[@suzannederringer1607]

Thanks for posting this! I know I LOMBARDI but never heard the French adaptation before.

[@giancarloparis1759]

la Gasdia voce non da soprano drammatico ma quanto pathos e musicalità. emozionante!!!

[@user-ru8vy1uz7c]

Bravo

[@giuseppedemonte591]

grazie for posting it - wonderful

[@lorenzopassetti9375]

Sapevi che è la mia sorella ?

[@spst2489]

Lorenzooooooooo

[@jeanabuzduga899]

E minunata, multumesc pentru postare. This is wonderful many thanks for posting it.

[@hansrichardnohrer2834]

Ein gutes video gute sänger

[@mosheberk8243]

I’ve never heard the opera before. Absolutely gorgeous!! At least I recognized the tenor aria. I’ve heard it sung before in Italian

[@piersm6970]

I was familiar with I Lombardi but never realised that Jerusalem is the new, improved model.

[@micheleporcelli1983]

Grande Carroli!! Pubblico francese moribondo!

[@mirjamdevries9376]

Infatti, perché non l'hanno quasi applaudito dopo il suo magnifico pezzo, mentre Luchetti invece sì?

[@angusmcrandy]

Gaston, Viscount of Béarn: Veriano Luchetti, tenor The Count of Toulouse: Alain Fondary, baritone Hélène, the Count's daughter: Cecilia Gasdia Roger, the Count's brother: Silvano Carroli, baritone The Legate: Fernand DuMont A Herald: J. Philipe Marliere The Emir: Philipe Rouillion Isaure, Hélène's companion: Judith Malafronte A Soldier: Robert Grenier An Officer: Mario Agnetti Orchestra and Chorus of the Paris Opera, Donato Renzetti Act 1 Scene 1: The palace of the Count of Toulouse Late at night Hélène is with her lover, Gaston. His family and hers have long been in conflict, but on the following day and prior to Gaston's departure for the First Crusade, it has been agreed that there will be a solemn reconciliation between the two families. (Duet: Adieu, mon bien-aimé / "Farewell, my beloved!"). After he leaves, Hélène and her companion, Isaure, pray for Gaston's safety. Scene 2: The following morning outside the chapel The Count proclaims the reconciliation and gives Gaston Hélène's hand in marriage. However, standing to one side, Roger, the Count's brother is quietly furious, since he is in love with Hélène. He leaves, after which the Papal Legate announces that the Pope has appointed Gaston to lead the Crusade, Gaston swears to follow him and he is awarded the Count's white cloak as a symbol of his loyalty. They enter the chapel. Returning, Roger proclaims his hatred of Gaston (Aria: Oh dans l'ombre, dans la mystère / "Oh! In darkness and mystery remain hidden, guilty passion") and approaches a soldier with whom he has plotted to kill his rival. He instructs the soldier to kill the man who will not be wearing the white cloak. (Aria: Ah! Viens, démon, esprit du mal / "Ah, come, demon, spirit of evil"). From inside the chapel the sound of uproar is heard. The soldier-murderer rushes out pursued by others while Roger gloats in his triumph. But it is Gaston who emerges, announcing that the Count has been struck down. The captured murderer is brought in before Roger; quietly Roger arranges for him to point to Gaston as the one who instigated the murder. Although protesting his innocence, Gaston is cursed by all and ordered into exile by the Papal Legate. Act 2 Scene 1: A cave near Ramla in Palestine Remorseful, Roger has been wandering for years in the desert and he cries out for forgiveness. (Aria: Ô jour fatal, ô crime / "O dreadful day, o my crime!"). Unexpectedly, Raymond, Gaston's squire, appears in a state of exhaustion and he begs Roger, whom he believes to be a holy man, for help, telling him that others of his Crusader group are lost. Roger hurries off to help them. Hélène and Isaure come down the pathway seeking the hermit who they think can tell them of Gaston's fate. They are surprised to find Raymond, who tells them that Gaston is still alive but held captive in Ramla. While expressing her joy, Hélène and Isaure are led towards the town by Raymond (Aria: Quell'ivresse, bonheur suprême / "What rapture! Supreme happiness! God has protected the man I love ..."). A group of distraught pilgrims climbs down from the hills around the cave. They are met by a band of newly arrived Crusaders led by the Count, who praises God for saving him from the assassin's dagger, and the Papal Legate. Roger appears requesting that he may be allowed to join them in their battle and the three proclaim their anticipated victory (Trio and chorus: Le Seigneur nous promet la victoire! O bonheur! / "The Lord promises us victory! Oh joy!"). Scene 2: The palace of the Emir of Ramla Gaston is admitted and expresses his desire to be close to Héléne again. He begins to plan his escape (Aria: Je veux encore entendre.. / "I want to hear your voice again") when the Emir arrives and advises him that escape will result in his death. At that moment, Hélène, having been captured in the city, is brought in. The couple pretends not to know one another, but the Emir is suspicious. However, they are left alone and are joyous in their reunion, until Gaston attempts to dissuade Hélène from associating with him in his dishonor (Aria: Dans la honte et l'épouvante / "You cannot share in the horror and shame of my wandering life!"). She remains firmly resolved to remain with him. From a window, they see the approaching Crusaders and, in the chaos, determine to escape but are thwarted by the arrival of the Emir's soldiers. Act 3 Scene 1: The harem gardens Hélène is surrounded by the ladies of the harem who express some sympathy with her plight. But, when the Emir enters and is told that the Christians are close to attacking the city, he orders that if the invaders are successful, Hélène's head should be thrown to the Count. In despair, she considers the uselessness of her life (Aria: Que m'importe la vie / "What does life matter to me in my extreme unhappiness" and Mes plaintes mes plaintes sont vaines / "My laments are in vain"). Gaston has escaped and rushes in to find Hélène, but their joy is short-lived as the Crusaders, led by the Count, burst into the room and demand Gaston's death, still believing that he was responsible for the attempt on the Count's life. Defiantly, Hélène challenges the Crusaders (Aria: Non ... non votre rage / "No ... no, your anger, your unworthy outrage") as well as her father ("The shame and crime are yours!"). The Count drags her away. Scene 2: A scaffold in a public square in Ramla Gaston is brought in and the Legate tells him that he has been condemned by the Pope and, following his public disgrace that day, he will be executed the following day. Gaston pleads for his honor to remain intact (Aria: O mes amis, mes frères d'armes / "O my friends, my brothers-in-arms"), but the smashing of his helmet, shield, and sword take place. Act 4 Scene 1: The edge of the Crusaders' camp The hermit Roger is alone near the camp. A procession of Crusaders and women arrives, Hélène amongst them. The procession continues on, although Hélène hangs back as the Legate approaches Roger and asks him to give some comfort to the condemned man who is then brought out. Gaston is brought out, but Roger refuses to give him his blessing. Instead, he hands his sword to Gaston urging him to place his hands on its hilt where it forms a cross and then to go off and fight for the Lord. Scene 2: The Count's tent Hélène and Isaure wait for news of the outcome of the battle for Jerusalem. They hear shouts of victory from outside and the Count, the Legate, and Crusaders enter followed by Gaston with the visor of his helmet closed. Praised for his bravery and asked to reveal his identity, Gaston announces that he is now prepared to be executed. Just then, the mortally wounded Roger is brought in and reveals himself as the Count's brother. He begs for mercy for Gaston and confesses to being the one who planned the murder which almost resulted in his brother's death. All rejoice at the restoration of Gaston's honor and position, as Roger takes one final look at Jerusalem and he dies.

[@juliogonzalezcampayo3201]

Gracias.

[@angusmcrandy]

@@juliogonzalezcampayo3201 de nada.

[@franckranaivo666]

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[@axelzeltsch7791]

I know a difference between this version and the original one. Here with one tenor (Gaston) and one bariton (Comte de Toulouse) while in the other both Oronte and Arvino are tenors.

[@juanjoperabilbo]

muy interesante esta version. mucho mejor que la de carreras y ramey a pesar de la calidad de ramey

[@xxsaruman82xx87]

Carroli is a GOD!!!!!

[@ivandr2923]

His vocal range was just insane, he wasn't bass-barittone but rather bass AND barittone

[@xxsaruman82xx87]

@@ivandr2923 He was incredible.

[@rosy3385]

En ce temps là, Paris ne faisait pas de mise en scène minables !!!

[@Fonseca429]

The libretto is based upon what?

[@MonmouthMitchell]

I do not know what the libretto is based on, but the opera (which i love) was a French version of I Lombardi and I believe was created by Verdi for a production in Paris.

[@kapellmeisterr]

@@MonmouthMitchell the plot from Il Lombardi was based upon a Tommaso Grossi's poem, but Jerusalem only kept some plot points, as it's not a mere translation, but an almost new libretto by Alphonse Royer and Gustave Vaëz. the music also varies a lot, as it was adapted for the french taste, arias were cut(tought not entirely, like in Rossinis's adaptations to french) and a ballet was added for example.

[@pierreploemmen3658]

Dommage un peu (beaucoup ) trop sombre

[@kapellmeisterr]

Jerusalem is way better than Lombardi, the plot, the parts, the pacing a pity people nowaday have a fetish for the "originals", i'm sure Verdi preferred Jerusalem a lot more than Lombardi

[@suzannederringer1607]

I don't know if Verdi preferred the French version. He was commissioned to do it and it gave him a chance to rework some of it.

[@philippeparra7015]

Très belle version historique. Mais heureusement que Fondary chante en français parce que les autres quelle catastrophe.

[@gabriellafiabane8144]

gasdia orrrrrribile buuuuuu

[@Junior-rm3bw]

E muito estranho uma pessoa velhas cantando da vergonha minha opinião. E um emprego que vc canta pra pessoa. Cara desculpa mas e como foçe um jogador de 50 anos não consegui mas jogar

[@Junior-rm3bw]

Tipo quando vc fica velho sua voiz fica fraca feia acho que o público fica mangando poriso eu acho feio algumas músicas a voiz fica ruim na minha opinião o público tá mangando poriso que cantor velhor não tem mas ssusse

[@Junior-rm3bw]

Tipo avoiz tá fraca e mas bonita poriso eu acho vergonhoso tipo será que as pessoas tão mangando porque a voiz tá feia.

[@Junior-rm3bw]

Uma vergonha. Pessoas velhas cantando eu acho muito feio emprego mas ruim do mundo e olha pra pessoa ver cantando pra outra eu acho feio não sei porque