#georges bizet
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Carmen Jones (Otto Preminger, 1954)
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Carmen 🎻et le ping-pong 🏓
😁 Humour du jour 😅
Source: Little io /MozART groupe
Bel après-midi 👋
#funny vidéos#humour du jour#mozart groupe#georges bizet#carmen#ping pong#music video#funny#cute#drôle#violons#sketch#belaprèsmidi#quatuor#fidjie fidjie
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Opera on YouTube
I've shared links to complete opera performances before, but I love to share them, so I thought I'd make a few masterposts.
These list are by no means the only complete filmed performances of these operas on YouTube, but I decided that ten links for each opera was enough for now.
By the way, some of the subtitles are just a part of the video, while others require you to click CC to see them.
Die Zauberflöte (The Magic Flute)
Hamburg Philharmonic State Opera, 1971 (Nicolai Gedda, Edith Mathis, William Workman, Christina Deutekom, Hans Sotin; conducted by Horst Stein; English subtitles)
Ingmar Bergman film, 1975 (Josef Köstlinger, Irma Urrila, Håkan Hagegård, Birgit Nordin, Ulrik Cold; conducted by Eric Ericson; sung in Swedish; English subtitles)
Salzburg Festival, 1982 (Peter Schreier, Ileana Cotrubas, Christian Bösch, Edita Gruberova, Martti Talvela; conducted by James Levine; Japanese subtitles)
Bavarian State Opera, 1983 (Francisco Araiza, Lucia Popp, Wolfgang Brendel, Edita Gruberova, Kurt Moll; conducted by Wolfgang Sawallisch; English subtitles)
Metropolitan Opera, 1991 (Francisco Araiza, Kathleen Battle, Manfred Hemm, Luciana Serra, Kurt Moll; conducted by James Levine; English subtitles)
Paris Opera, 2001 (Piotr Beczala, Dorothea Röschmann, Detlef Roth, Desirée Rancatore, Matti Salminen; conducted by Ivan Fischer; no subtitles)
Royal Opera House, Covent Garden, 2003 (Will Hartman, Dorothea Röschmann, Simon Keenlyside, Diana Damrau, Franz Josef Selig; conducted by Colin Davis; no subtitles) – Act I, Act II
La Monnaie, Brussels, 2005 (Topi Lehtipuu, Sophie Karthäuser, Stephan Loger, Ana Camelia Stefanescu, Harry Peeters; conducted by René Jacobs; French subtitles)
Kenneth Branagh film, 2006 (Joseph Kaiser, Amy Carson, Benjamin Jay Davis, Lyubov Petrova, René Pape; conducted by James Conlon; sung in English)
San Francisco Opera, 2010 (Piotr Beczala, Dina Kuznetsoca, Christopher Maltman, Erika Miklósa, Georg Zeppenfeld; conducted by Donald Runnicles; English subtitles)
La Traviata
Mario Lanfrachi studio film, 1968 (Anna Moffo, Franco Bonisolli, Gino Bechi; conducted by Giuseppe Patané; English subtitles)
Glyndebourne Festival Opera, 1987 (Marie McLaughlin, Walter MacNeil, Brent Ellis; conducted by Bernard Haitink; Italian and Portuguese subtitles)
Teatro alla Scala, 1992 (Tiziana Fabbricini, Roberto Alagna, Paolo Coni; conducted by Riccardo Muti; English subtitles)
Royal Opera House, Covent Garden, 1994 (Angela Gheorghiu, Frank Lopardo, Leo Nucci; conducted by Georg Solti; Spanish subtitles)
Teatro Giuseppe Verdi, 2003 (Stefania Bonfadelli, Scott Piper, Renato Bruson; conducted by Plácido Domingo; Spanish subtitles)
Salzburg Festival, 2005 (Anna Netrebko, Rolando Villazón, Thomas Hampson; conducted by Carlo Rizzi; no subtitles)
Los Angeles Opera, 2006 (Renée Fleming, Rolando Villazón, Renato Bruson; conducted by James Conlon; English subtitles)
Opera Festival St. Margarethen, 2008 (Kristiane Kaiser, Jean-Francois Borras, Georg Tichy; conducted by Ernst Märzendorfer; English subtitles)
Teatro Real di Madrid, 2015 (Ermonela Jaho, Francesco Demuro, Juan Jesús Rodríguez; conducted by Renato Palumbo; English subtitles)
Teatro Massimo, 2023 (Nino Machiadze, Saimir Pirgu, Roberto Frontali; conducted by Carlo Goldstein; no subtitles)
Carmen
Herbert von Karajan studio film, 1967 (Grace Bumbry, Jon Vickers; conducted by Herbert von Karajan; English subtitles)
Vienna State Opera, 1978 (Elena Obraztsova, Plácido Domingo; conducted by Carlos Kleiber; English Subtitles)
Francisco Rosi film, 1982 (Julia Migenes, Plácido Domingo; conducted by Lorin Maazel; English subtitles)
Metropolitan Opera, 1987 (Agnes Baltsa, José Carreras; conducted by James Levine; English subtitles)
London Earls Court Arena, 1989 (Maria Ewing, Jacque Trussel; conducted by Jaques Delacote; English subtitles)
Royal Opera House, Covent Garden, 1991 (Maria Ewing, Luis Lima; conducted by Zubin Mehta; English subtitles) – Acts I and II, Acts III and IV
Arena di Verona, 2003 (Marina Domashenko, Marco Berti; conducted by Alain Lombard; Italian subtitles)
Royal Opera House, Covent Garden, 2006 (Anna Caterina Antonacci, Jonas Kaufmann; conducted by Antonio Pappano; English subtitles) – Acts I and II, Acts III and IV
Metropolitan Opera, 2010 (Elina Garanca, Roberto Alagna; conducted by Yannick Nézet-Séguin; English subtitles) – Acts I and II, Acts III and IV
Opéra-Comique, 2023 (Gaëlle Arquez, Frédéric Antoun; conducted by Louis Langrée; English subtitles)
La Bohéme
Franco Zeffirelli studio film, 1965 (Mirella Freni, Gianni Raimondi; conducted by Herbert von Karajan; English subtitles)
Metropolitan Opera, 1977 (Renata Scotto, Luciano Pavarotti; conducted by James Levine; no subtitles)
Teatro alla Scala, 1979 (Ileana Cotrubas, Luciano Pavarotti; conducted by Carlos Kleiber; no subtitles)
Opera Australia, 1993 (Cheryl Barker, David Hobson; conducted by Julian Smith; Brazilian Portuguese subtitles)
Teatro Regio di Torino, 1996 (Mirella Freni, Luciano Pavarotti; conducted by Daniel Oren; Italian subtitles)
Teatro alla Scala, 2003 (Cristina Gallardo-Domâs, Marcelo Alvarez; conducted by Bruno Bartoletti; Spanish subtitles)
Zürich Opera House, 2005 (Cristina Gallardo-Domâs, Marcello Giordani; conducted by Franz Welser-Möst; no subtitles)
Robert Dornhelm film, 2009 (Anna Netrebko, Rolando Villazón; conducted by Bertrand de Billy; no subtitles)
Opera Australia, 2011 (Takesha Meshé Kizart, Ji-Min Park; Shao-Chia Lü; no subtitles)
Sigulda Opera Festival, 2022 (Maija Kovalevska, Mihail Mihaylov; conducted by Vladimir Kiradjiev; English subtitles)
#opera#youtube#complete performances#die zauberflöte#the magic flute#la traviata#carmen#la boheme#wolfgang amadeus mozart#giuseppe verdi#georges bizet#giacomo puccini
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Don jose is one of the few operatic tenors I feel confident in calling 100% straight because any bi dude in his right mind would have just made out with Escamillio
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youtube
opening tomorrow! what do we think?
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Carmen Jones (Otto Preminger, 1954)
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October 25.1838 the great French Composer (1838-1875) Georges Bizet was born in Paris.
His greatest success was the opera „Carmen“ first performed three months before his death. Take a look on his biography. Here we see a old postcard and a portrait.
#classical music#opera#music history#bel canto#composer#classical composer#aria#classical studies#maestro#chest voice#Georges Bizet#Bizet#Carmen#Romantic era#Conservatoire de Paris#Opéra-Comique#classical musician#classical musicians#classical voice#classical history#history of music#historian of music#musician#musicians#music education#music theory
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ROUND 1 : OVERTURES
Songs under the cut
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#opera#opera music#jacques offenbach#orpheus in the underworld#otto nicolai#the merry wives of windsor#georges bizet#carmen#ruggero leoncavallo#pagliacci#wolfgang amadeus mozart#the magic flute#the marriage of figaro#gioachino rossini#the barber of seville#giacomo puccini#turnadot#giuseppe verdi#rigoletto#johann strauss ii#die fledermaus#Youtube
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L'amour est un oiseau rebelle
Que nul ne peut apprivoiser
Et c'est bien en vain qu'on l'appelle
C'est lui qu'on vient de nous refuse.
🕊❤️🔥
#illustration#Georges Bizet#Carmen Opera#L'amour Est Un Oiseau Rebelle#amour#Birdie#Aria#Maria Callas
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Costume designs for the opera Carmen by Oleksandr Khvostenko-Khvostov, 1948
#Carmen#Georges Bizet#1940s#Theatrical costumes#Oleksandr Khvostenko-Khvostov#Ukrainian art#sketch#theatre#opera
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Bizet n’était pas un rival, c’était un frère d’armes ; je me retrempais au contact de cette haute raison parée d’une blague intarissable, de ce caractère fortement trempé que nul déboire ne pouvait abattre. Avant d’être un musicien, Georges Bizet était un homme, et c’est peut-être, plus que tout, ce qui lui a nui.
- Camille Saint-Saëns on Georges Bizet
#saint-saens#camille saint saëns#quote#french#music#composer#classical#georges bizet#bizet#classical music#arts#culture#icon
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The staging of death is always important. Since I made a poll some time ago about the different stagings of Don Giovanni's doom, I thought I'd make a similar poll for the other most famous "seductive" character in opera. Of course there's not as much wild variety for the staging of Carmen's death as for Don Giovanni's, because she's just murdered, not supernaturally dragged to hell. But directors have still found ways to be creative.
It's interesting that while the libretto's stage directions call for Carmen to try to escape from José's knife, far more productions have her accept her fate. I suppose this is because in Prosper Mérimée's original book, she accepts her fate and doesn't try to escape. Yet the opera's librettists wrote that their Carmen was different in some ways from Mérimée's Carmen – they weren't trying to write a direct page-to-stage translation. Personally, I think it works either way. It makes sense for a person as strong-willed as Carmen to struggle to survive to the very end, despite the fate she read in the cards, but it also makes sense for her to bravely accept her fate and die with dignity rather than give up her freedom.
That said, I also like Sir Peter Hall's third option from his Glyndebourne staging with Maria Ewing, where she calmly crosses the stage toward the bullring, past José, still wanting to live but resigned with dignity to whatever José chooses to do.
I also like the staging from the first production I ever saw onstage, which I've also seen in a few YouTube videos, which is Option #5: José draws his knife and Carmen calmly offers him her chest, but then he can't bring himself to stab her, and she laughs at him and starts to walk toward the bullring... only for José to finally snap, run after her, and stab her after all.
I think the few stagings that have Carmen and José's movements explicitly mirror a bullfight are interesting too, especially because they vary in which character is the toreador and which is the bull.
As for the suicidal Carmens in the last two options... I'm not sure. I think it would work best in a production which made it clear that Carmen wasn't happy being constantly chased by men and having to use her sexuality to get by. She would have to realize that her only way to be completely free is to die. In that light, I might approve of a suicidal staging because it gives Carmen more agency over her fate. But at the same time, it might whitewash José's character too much by reducing his ultimate guilt.
I look forward to seeing how people vote on this subject!
@simone-boccanegra, @paexgo-rosa, @supercantaloupe, @notyouraveragejulie, @leporellian, @ariel-seagull-wings
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#johann sebastian bach#pyotr ilyich tchaikovsky#wolfgang amadeus mozart#ludwig van beethoven#gioachino rossini#scott joplin#antonio vivaldi#john cage#jules massenet#robert schumann#edward elgar#hermann necke#johann strauss II#bedřich smetana#georg friedrich händel#franz schubert#juventino rosas#frédéric Chopin#georges bizet#edvard grieg#john philip sousa#franz liszt#felix mendelssohn-bartholdy#johannes brahms#joseph haydn#françois-joseph gossec#leo delibes#amilcare ponichelli#friedrich burgmüller
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