Private dancer
Hunkentenor Giuseppe Filianoti performs a little “risqué business” in this trailer for a new production of L’elisir d’amore that opened last night at the Bayerische Staatsoper.
Hunkentenor Giuseppe Filianoti performs a little “risqué business” in this trailer for a new production of L’elisir d’amore that opened last night at the Bayerische Staatsoper.
Wow. Just wow.
Where is this all going to end?
Now, that’s too bad- vocally, I mean, from him. As Kolodin writes of late-Met career Ferruccio Tagliavini, “Trying to take by force what he could no longer sustain by art.”:
Surely audiences will grow tired of Dreckenregie…
Hunkentenor? LC – are you on crack?
That just put me off sex indefinitely…
The singing is also not so hot …
Sorry, this was not at all Drecksregie (not Dreckenregie) only the staging of the soldiers was stupid. The audience of the final dress rehearsal just loved it. Entertaining, funny and never boring, like most of the other L’elisir productions I saw. Only the old Ponelle with Pavarotti and Freni in Munich, Milan and at the Met was similar entertaining. Peter Gelb is working hard and has to do this still for a long time to get the Met away from the DEAD AT THE MET image.
For people who can read German a critic in one of the leading German news papers
http://www.sueddeutsche.de/,tt7m1/muenchen/953/496271/text/
Exactly my impression from the final dress rehearsal, the audience loved it and it was a huge success.
I love it. It is a rather clear example of opera made for television though. I doubt many people in the house could see any of the subtleties of the acting, but from this I think it’s awesome. Also, anytime you give me a big, fat, crazy character bass like this, it makes me happy.
the whole production was in the way of early Fellini movies and the lead tenor acted a bit like Chaplin. Worked very well. Valmont, You are right, the fat bariton was perfect in his role, very funny but also touching.
The complete number was posted on this site a few days ago (taped from the audience). He has an exeptional voice and looks sexy, but the crazy dancing was cute for about 60 seconds, then it just looked very silly, like he was trying to hard.
the clip which you saw did somebody in a earlier rehearsal and was not fair.
I wouldn’t want to have to critique quality of voices from this clip that has a harsh, hyped-up edge to it. My suspicion is that they all had rather warmer, rounder tone in the house. I thought the production delightful and all the relationships between characters seemed to be present and accounted for exactly as in Donizetti-Romani.
I can easily believe the audience loved it–funny, Dulcamara over the top exactly right, love and sentiment firmly in place. I’d much rather see this than the MET’s current L’Elisir. But I also thought that this Munich production could be seen as the direct contemporary descendant of the Great old Merrill-O’Hearn production that used ballet, flying machine stagecraft and Broadway musical-style scenery to wow audiences fifty years ago.
As heard on the web yesterday, the singing was mediocre at best. But does that matter anymore?
The voices are all recorded too close, but I think Filianoti sounds beautiful. He looks madeup like Johnny Depp in Edward Scissorhand, and to me is very appealing.
Judging solely by this video I think Filianoti is singing beautifully and is cute as a button (not to mention having a nice tuchus). The soprano (Nino Machaidze?) has quite the metallic edge on her voice, but she’s gorgeous to look at. The production looks like a lot of fun. If I were in Munich I would definitely see this.
It sure sounds mediocre in the clip. Filianoti sounds like he thinks he’s in a Puccini opera.
The review doesn’t really say anything substantial at all, just general feel-good blah-blah about the story line and stage business and sets, virtually nothing about the musicianship.