Vous écoutez quoi en ce moment ?

par **jeug** » 25 Juin 2011, 21:50

(Eglantine @ mercredi 20 avril 2011 à 10:09 a écrit :d'autres stars, d'autres mélanges :

http://www.youtube.com/watch?v=_0_rHpY3wf8

Très sympa cette version africanisée, même si elle ne fait pas oublier la version originale.

par **lavana** » 26 Juin 2011, 21:58

Inspiré par une remarque du Docteur No dans la discussion sur les séries.
J'écoute ça en ce moment parce que c'est Stalinien (berlin Est 1956 1975) , parce que c'est une légende mais ça m'était inconnu et parce que c'est disponible sur le Net. Je peux donner le lien, si ça n'est pas contraire aux bonnes moeurs, pour ceux qui ne le trouveraient pas.

Tous sont interprétés en allemand

Fidelio; La Petite renarde rusée, Don Giovanni, Othello (verdi) Contes d'Hoffman, Barbe bleue (Offenbach) et les Noces de Figaro.

Il y a des sous-titres.

(http://www.nytimes.com/2008/05/18/arts/ ... 8davi.html a écrit :Aria! Action! Making Opera a Director’s Art

By PETER G. DAVIS
Published: May 18, 2008
HERE is a treasure. Opera DVDs tumble out by the dozens nowadays, too often featuring routine performances of recent productions that hardly seem worth preserving. In contrast Arthaus’s scholarly and imposing “Walter Felsenstein Edition” offers a fascinating glimpse of an important moment in operatic history now vanished.

Enlarge This Image

Clemens Kohl/Courtesy of Henschel Verlag
Walter Felsenstein, center, the opera director who founded the Komische Oper in East Berlin, directing “Otello” in 1969.
Multimedia

Video
Trailer: Walter Felsenstein Edition
Enlarge This Image

Clemens Kohl/Courtesy of Henschel Verlag
The tenor Hanns Nocker, center, in “The Tales of Hoffmann.”
It all comes in a weighty 12-by-12-inch box: 12 discs containing seven opera productions directed by Felsenstein, filmed between 1956 and 1976; generous video extras showing him in rehearsal and discussing his concepts; a detailed technical explanation of how this historic material was rescued and restored; a 100-page lavishly illustrated hardcover book filled with essays in German and English about Felsenstein’s life, work, philosophy and views on the operas at hand; and numerous facsimiles of relevant documents, literally tied with a red ribbon and suitable for framing. The price is 320 to 500, depending on where you buy your DVDs, but no one concerned about the development of opera production over the last half-century will regret the outlay.

Already something of a misty legend at the time of his death in 1975, Felsenstein is now largely forgotten by the public. It’s possible that American opera fans who regard the Met as the center of the universe may never have heard of him at all.

A brilliant director, the founder of the innovative Komische Oper in East Berlin in 1947, alternately praised and condemned as the principal architect of what Germans today call Regieoper (an approach to production in which the stage director is the defining element and guiding force), Felsenstein has had many successors and imitators. He strongly influenced the work of famous disciples like Götz Friedrich, Harry Kupfer and Joachim Herz. Sarah Caldwell, at her Opera Company of Boston, was one of the few Americans to adopt Felsenstein’s methods. But the master’s personal touch remains inimitable.

Those who know Felsenstein only by name and reputation may be surprised when they see these productions, which seem downright conservative compared to the radical reimaginings of standard-repertory works that dominate Regieoper in Germany today. Felsenstein was never interested in updating the action, relocating plots, shocking his public with outrageous concepts or using opera to argue arcane intellectual points that never occurred to the composer. Nor did he invariably make acting his first priority, as some critics still insist, leaving the music to take care of itself. Quite the contrary.

Felsenstein’s principal concern was the singing actor and how he or she could be made to function as the central ingredient in the total musical-dramatic package. “The performer,” he once wrote, “is obliged to make the concern of the character he is portraying so unconditionally and consistently his own that to him and to the audience all basic musical functions — rhythm, meter, harmony, tempo, dynamics — do not appear to be prescribed by the score or the conductor but seem to be determined by his, the character’s, intentions and sensations.”

That idealistic credo goes a long way in explaining why Felsenstein never had an international career. He needed time to get the results he wanted, more time than any major opera house could give him. That meant creating his own company with which he had the luxury of endless rehearsals. Although establishing himself in East Berlin was mostly an accident of geography, he lucked out to the extent that the Communist regime recognized the prestige value of his work and gave him almost everything he needed to get things done his way.

Preparations for each new production could last two months or longer. If singers meticulously coached and trained in their parts fell ill, performances were simply canceled. Since the glamorous superstars of the day could never spare the time Felsenstein required, he worked with his own hand-picked troupe of devoted singers, most from Eastern Europe and virtually unknown in the West. Everything was sung in German, usually in his own translations. Whoever wanted to experience this singular operatic mix had to make the pilgrimage to East Berlin, a trip that became even dicier after the wall went up. All this fueled the legend.

None of the seven productions preserved here entirely replicate the live experience. Film has its own special properties, requirements and techniques, and Felsenstein adapts accordingly.

par **bennie** » 30 Juin 2011, 20:33

atari teenage riot de Berlin. digital hardcore
http://www.youtube.com/watch?v=Rv4YEQoSc4I&feature=fvst

par **Harpie** » 01 Juil 2011, 02:13

De la grande musique!

http://www.youtube.com/watch?v=Qi99oDALtRU&feature=related

par **Doctor No** » 01 Juil 2011, 09:28

(lavana @ dimanche 26 juin 2011 à 22:58 a écrit : Inspiré par une remarque du Docteur No dans la discussion sur les séries.
J'écoute ça en ce moment parce que c'est Stalinien (berlin Est 1956 1975) , parce que c'est une légende mais ça m'était inconnu et parce que c'est disponible sur le Net. Je peux donner le lien, si ça n'est pas contraire aux bonnes moeurs, pour ceux qui ne le trouveraient pas.

Tous sont interprétés en allemand

Fidelio; La Petite renarde rusée, Don Giovanni, Othello (verdi) Contes d'Hoffman, Barbe bleue (Offenbach) et les Noces de Figaro.

Il y a des sous-titres.

(http://www.nytimes.com/2008/05/18/arts/ ... 8davi.html a écrit :Aria! Action! Making Opera a Director’s Art

By PETER G. DAVIS
Published: May 18, 2008
HERE is a treasure. Opera DVDs tumble out by the dozens nowadays, too often featuring routine performances of recent productions that hardly seem worth preserving. In contrast Arthaus’s scholarly and imposing “Walter Felsenstein Edition” offers a fascinating glimpse of an important moment in operatic history now vanished.

Enlarge This Image

Clemens Kohl/Courtesy of Henschel Verlag
Walter Felsenstein, center, the opera director who founded the Komische Oper in East Berlin, directing “Otello” in 1969.
Multimedia

Video
Trailer: Walter Felsenstein Edition
Enlarge This Image

Clemens Kohl/Courtesy of Henschel Verlag
The tenor Hanns Nocker, center, in “The Tales of Hoffmann.”
It all comes in a weighty 12-by-12-inch box: 12 discs containing seven opera productions directed by Felsenstein, filmed between 1956 and 1976; generous video extras showing him in rehearsal and discussing his concepts; a detailed technical explanation of how this historic material was rescued and restored; a 100-page lavishly illustrated hardcover book filled with essays in German and English about Felsenstein’s life, work, philosophy and views on the operas at hand; and numerous facsimiles of relevant documents, literally tied with a red ribbon and suitable for framing. The price is 320 to 500, depending on where you buy your DVDs, but no one concerned about the development of opera production over the last half-century will regret the outlay.

Already something of a misty legend at the time of his death in 1975, Felsenstein is now largely forgotten by the public. It’s possible that American opera fans who regard the Met as the center of the universe may never have heard of him at all.

A brilliant director, the founder of the innovative Komische Oper in East Berlin in 1947, alternately praised and condemned as the principal architect of what Germans today call Regieoper (an approach to production in which the stage director is the defining element and guiding force), Felsenstein has had many successors and imitators. He strongly influenced the work of famous disciples like Götz Friedrich, Harry Kupfer and Joachim Herz. Sarah Caldwell, at her Opera Company of Boston, was one of the few Americans to adopt Felsenstein’s methods. But the master’s personal touch remains inimitable.

Those who know Felsenstein only by name and reputation may be surprised when they see these productions, which seem downright conservative compared to the radical reimaginings of standard-repertory works that dominate Regieoper in Germany today. Felsenstein was never interested in updating the action, relocating plots, shocking his public with outrageous concepts or using opera to argue arcane intellectual points that never occurred to the composer. Nor did he invariably make acting his first priority, as some critics still insist, leaving the music to take care of itself. Quite the contrary.

Felsenstein’s principal concern was the singing actor and how he or she could be made to function as the central ingredient in the total musical-dramatic package. “The performer,” he once wrote, “is obliged to make the concern of the character he is portraying so unconditionally and consistently his own that to him and to the audience all basic musical functions — rhythm, meter, harmony, tempo, dynamics — do not appear to be prescribed by the score or the conductor but seem to be determined by his, the character’s, intentions and sensations.”

That idealistic credo goes a long way in explaining why Felsenstein never had an international career. He needed time to get the results he wanted, more time than any major opera house could give him. That meant creating his own company with which he had the luxury of endless rehearsals. Although establishing himself in East Berlin was mostly an accident of geography, he lucked out to the extent that the Communist regime recognized the prestige value of his work and gave him almost everything he needed to get things done his way.

Preparations for each new production could last two months or longer. If singers meticulously coached and trained in their parts fell ill, performances were simply canceled. Since the glamorous superstars of the day could never spare the time Felsenstein required, he worked with his own hand-picked troupe of devoted singers, most from Eastern Europe and virtually unknown in the West. Everything was sung in German, usually in his own translations. Whoever wanted to experience this singular operatic mix had to make the pilgrimage to East Berlin, a trip that became even dicier after the wall went up. All this fueled the legend.

None of the seven productions preserved here entirely replicate the live experience. Film has its own special properties, requirements and techniques, and Felsenstein adapts accordingly.

Cela mérite des larges développements.

Tout est là presque.

Non seulement comment les capitalistes on occulté de très grands artistes mais aussi la différence abyssal du travail d'un réalisateur sérieux qui respecte les auteurs et les œuvres et les jean foutres qui dominent la mise en scène (avec des honorables exceptions).

Il y a là deux conception aux antipodes de l'art qui saut aux yeux même des aveugles anti réalisme.

Après tout la critique communiste, dont Lukacs a été un de plus grandes figures du XX siècle (bien occulté lui aussi) a laissé sa trace même dans les pays à bureaucratie gouvernante. Cette situation était "naturelle" (si on peut dire) vu que le communisme même version stalinienne revendique le meilleur de la culture et l'a objectivement développé à la fois qu'il le contraignait.

Tout ce qui été "classique" a été étudié et développé dans les pays à socialisme bureaucratique au delà de tout ce qui a pu l'être dans les pays occupés à faire des recettes abondantes.
D’ailleurs on ne peut pas dire qu'il y a eu que cela à "l'Est", vu le foisonnement des créateurs qui ont laissé des œuvres neuves (Pierre et le Loup de Prokoviev par exemple, les symphonies de la guerre de Chostakovitch) qui restent et qui seront écoutés dans les temps à venir. (Ce n'est pas le cas du "Grand Macabre" par exemple qui a eu , [U]une représentation "très applaudi par la 'critique'"...) .)

Ce n'est pas qu'en Occident n'avaient pas des bons réalisateurs et musicologues, mais la politique (eh oui, la politique) a fait monter au devant de la scène un Walter Lege par ex. qui a imposé sa conception et ses artistes (laissant en Italie par exemple totalement cachées les deux plus grandes sopranos, la Gencer parce que turque et la plus grande la Zeanni parce que roumaine suspecte de "communisme").

Il a développé le star système avec la Callas et malgré ses indéniables qualités comme musicologue il a fait place à tous ceux qui étaient dans la ligne la plus idéaliste subjective en musique. Les Gould, le Celibidache, les Karajan et a lancé le système de beaucoup chanter, charcuter et coller le plus possible, chercher les effets, l'émotion, pousser en avant la forme et négliger le fond, il a poussé au maximum ce qui rapporte. En fait il a "capitalisée" la musique.

Cela a créée les conditions pour d'un coté "démocratiser" la musique (créer un marché) et deux pousser les artistes devant le dilemme "art ou pognon"? Beaucoup ont "concilié "ces deux termes inconciliables.

Le résultat aussi a été que les vraiment grands, Carlos Kleiber par exemple ne pouvait presque plus travailler dans des bonnes conditions (voir ses exigences pour enregistrer et/ou diriger) et se voyait fréquemment obligé de renoncer pour parer à l'envahissement du pognon dans son travail. Ainsi il a laissé tomber l’enregistrent de "Tristan et Isolde" (presque à la fin) et il était connu pour préparer longtemps (et aussi se tirer si quelque chose ne lui plaisait pas) et faire tout de go toute l’œuvre évitant le charcutage dans les études. Il a laissé une œuvre magnifique.

Mais bon, il faudrait, que des gens se penchent sur cette question et constatent tout simplement les dégâts que ce système a fait. D’ailleurs la critique le constate sans approfondir (off course) les raisons politiques qui se trouvent derrière.

Les découvertes des créations en DDR sont le fait des véritables amateurs qui sont capables d’apprécier la véritable qualité (une fois que "le communisme est mort"...) et peuvent aujourd'hui le dire sans trop craindre pour leur carrières et leur situations.

Parce que en plus c'est un drôle de monde celui de la musique, traversé comme toute forme de la superstructure par la lutte de classes.

Bref, il faudrait que des vrais intellectuel s'y penchent au lieu de perdre leur temps devant des conneries des séries à pleurer de bêtes.

par **lavana** » 01 Juil 2011, 15:16

(Doctor No @ vendredi 1 juillet 2011 à 10:28 a écrit : D’ailleurs la critique le constate sans approfondir (off course) les raisons politiques qui se trouvent derrière.

Sur ce point et pour abonder dans ton sens, des commentateurs à la radio déploraient le fait que Gencer (que tu cites plus haut) n'ai quasi jamais été enregistré. Les maisons de disques ne faisaient rien avec elle. (il existe quand même des pirates et un DVD du Trouvère au moins).

Et ce constat les intriguait sans pouvoir avancer une explication...en tout cas personne n'avait envie de s'y lancer.

Vous écoutez quoi en ce moment ?

Qui est en ligne ?