Cher Public

  • NPW-Paris: (Warning: there’s some pretty dodgy singing on that clip; but that isn’t Erkel’s fault, of course.) 11:35 AM
  • Batty Masetto: “stage right, something that was variously the street, the prop room, and if I’m not mistaken, the unconsciousR... 11:28 AM
  • kashania: Very sweet indeed. Thanks for sharing. 11:28 AM
  • NPW-Paris: It’s a shame that composers like Goldmark and Erkel get so few performances outside Hungary. httpv:// 11:15 AM
  • armerjacquino: danpatter, that is utterly beautiful. Thank you so much. 11:05 AM
  • NPW-Paris: I was supposed t osee her as Norma in Paris in December, but have to be at work that evening. I’m not very pleased about... 11:03 AM
  • NPW-Paris: That’s a useful tip, Manou: I hope to be back there next spring. 10:59 AM
  • NPW-Paris: I think we’re extremely lucky to have her singing such interesting repertoire (and I admit I really don’t mind if... 10:58 AM

Huis Clos

That most operatic of all operas, Il trovatore, has been done many ways, but here’s a first: the warhorse as bottle episode. The production is by Dmitri Tcherniakov for Le Théâtre Royal de la Monnaie. There’s video after the jump.

Photo © Bernd Uhlig.


  • louannd says:

    Ya know, I know not much about Trovatore except as a casual fan of opera, and I have to say that this production appears to be just as interesting as any other Trovatore I have seen or seen clips of. (additional points for not having M. Alvarez is not in it).

    I watched Tcherniakov’s DG online and have since come to very much appreciate his approach since it is one of the few times that I haven’t been bored throughout the entire Madamina aria by watching the characters act out the tedium of an extraordinarily geeky relative making hilariously received sexual advances towards another relative’s wife. (must look this trope up). Of course, Ketelsen’s voice being so magnificent made it all the more enjoyable.

  • Batty Masetto says:

    Here’s a clip of the same duet from the good old days when there were no pesky directors around:

  • Quanto Painy Fakor says:

    Do we know who these people are and why don’t these conductors understand what Verdi has written very clearly?