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Nnnn I'm studying in Paris (near montparnass station ) but I finish at 7pm exactly .. do you think I can still have the time to go there and not miss him ?? 

 

 

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2 hours ago, faky said:

Nnnn I'm studying in Paris (near montparnass station ) but I finish at 7pm exactly .. do you think I can still have the time to go there and not miss him ?? 

 

 

We do not know how long Mika will be there. But if I were you I would go. Mika very often is late,  so who knows? 😁

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I see ;;; well i took the time to think about it, that'd be cool to see him, meet him maybe ????? 

but it will take at least 20 minute to get there, maybe 30 ??

mmm and i'll have a lot of school stuff to carry , that include a HUGE drawing pad, and I'm not sure they will let me in with it ?

 

i'm just scared to rush to get there to end up missing him / not being able to enter 

i'll take the night to think that out .. if i do go there then GOOD ! if i can't, i bet there will be other occasions, maybe better than a car expo :' D 

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2 minutes ago, faky said:

I see ;;; well i took the time to think about it, that'd be cool to see him, meet him maybe ????? 

but it will take at least 20 minute to get there, maybe 30 ??

mmm and i'll have a lot of school stuff to carry , that include a HUGE drawing pad, and I'm not sure they will let me in with it ?

 

i'm just scared to rush to get there to end up missing him / not being able to enter 

i'll take the night to think that out .. if i do go there then GOOD ! if i can't, i bet there will be other occasions, maybe better than a car expo :' D 

For sure there will be other occasions.  Mika will be a coach in The Voice France and the shooting of blind audition starts soon in Paris :mikalove:

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Thank you Anna. Personally, I won't be in Paris tomorrow, but it's really very nice to share   :flowers2:

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I guess yeah :' D 

i asked someone else and they said i could try, since i'm not too far ..  i could, if i miss it, well yeah i will surely find another way ^^

thank you ~

 

about "the voice", i have to admit i have NO idea how to get a place there ??

neither if meeting him would be possible ??  

but i could do some research about it 

but i might be off topic here ~

 

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1 hour ago, faky said:

 

about "the voice", i have to admit i have NO idea how to get a place there ??

neither if meeting him would be possible ??  

but i could do some research about it 

but i might be off topic here ~

 

There is already a topic for The Voice ". 

I will try to come to France this time to participate in the audience. 

 

Edited by Anna Ko Kolkowska

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1 hour ago, faky said:

I guess yeah :' D 

i asked someone else and they said i could try, since i'm not too far ..  i could, if i miss it, well yeah i will surely find another way ^^

thank you ~

 

about "the voice", i have to admit i have NO idea how to get a place there ??

neither if meeting him would be possible ??  

but i could do some research about it 

but i might be off topic here ~

 

As far as I know, last year there was a possibility to win tickets for the recordings here on the forum.

Don't know how exactly it worked but if something like that will be happening this year for sure there will be an information about that when the right time comes. :wink2:

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From http://www.ica2018.eu/Web/40/Social-Program/ 

 

The theatre Farnese, one of the most beautiful historical theatres in Italy, was built between 1618 and 1619 at the order of Ranuccio I with the aim to pay homage to Cosimo II de Medici, who had planned to stop in Parma during a journey towards Milan. The journey never took place and the theatre, built in the former arms room of Pilotta palace, was only opened in 1628 for the wedding of Margherita de Medici and Duke Odoardo Farnese, with mythological and allegorical performances and a spectacular naumachia.G.B. Aleotti, the architect, based his design on Palladio's theatre Olimpico in Vicenza: horseshoe shaped stalls are surrounded by two tiers of loggias with Palladian windows, the lower row Doric and the upper one Ionic, topped by a balconied gallery. The stage was equipped with an innovative system of movable scenery and gallerie, the first example of such stage machinery in the history of italian theatres. Special effects were used to recreate land and sea not only on the stage but also in the huge auditorium. A Corinthian proscenium is decorated by the Duke's coat of arms and an inscription dedicated to Bellona and the Muses.The theatre, built out of wood, plaster, straw and scraps of fabric, fell into a state of disrepair after the last performance in 1732 and was almost completely destroyed by Allied bombing in 1944. It was rebuilt in 1950 using the same materials. 

 

 

image.thumb.png.2ce31066b6660b72b58c768051080728.png

 

Tonight the premiere of Le Trouvere of Verdi to celebrate 400 years of the Teatro Farnese.

 

http://teatroregioparma.it/Categorie/default.aspx?idCategoria=113

 

Edited by Anna Ko Kolkowska
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https://www.olyrix.com/articles/production/2403/le-trouvere-teatro-regio-parma-parme-octobre-2018-verdi-francais-abbado-wilson-gipali-vassallo-spotti-casalin-mantegna-surguladze-casalin-langella-orchestre-theatre-communal-bologne-article-critique-chronique-compte-rendu

Production

Le Festival Verdi de Parme ressuscite Le Trouvère (en français dans le texte)

Le 06/10/2018 Par Stéphane Lelièvre

 

Dans l’extraordinaire Teatro Farnese du Palais Ducal, le Festival Verdi de Parme permet de (re)découvrir la version française du Trouvère conçue par Verdi pour l’Opéra de Paris en 1857. Une production montée avec le plus grand soin, pour un résultat parfois inégal mais toujours passionnant !

Le livret français qu’Émilien Pacini rédigea pour l’entrée du Trovatore à l’Opéra n’est pas qu’une simple traduction du texte de Cammarano, comme Edouard Duprez en écrivit pour La Traviata ou Rigoletto : il s’agit d’un texte destiné à servir de support à une œuvre remaniée. Puisque Verdi souhaitait répondre aux attentes du public français, ces modifications impliquent nécessairement la présence d’un ballet, placé ici après le chœur des soldats qui ouvre le troisième acte. C’est là la modification la plus immédiatement repérable, avec celle du finale de l’œuvre, comportant une reprise du Miserere pendant l’exécution de Manrique, ou encore la suppression de la cabalette de Léonore au troisième acte : « Tu vedrai che amor in terra… ». D’autres sont plus infimes : la présence d’ornements dans la première cabalette de Léonore : « L’amour ardent, l’amour sublime et tendre » (en lieu et place du célèbre « Di tale amor… »), que Joan Sutherland chante en partie dans l’étonnante intégrale Bonynge ; ou encore une orchestration censée mieux correspondre au goût français, des conclusions différentes pour plusieurs airs ou scènes, un développement dans la scène d’Azucena face au Comte au troisième acte (« Prenez pitié de ma douleur amère… »…). L’opéra se rapproche ainsi plus ou moins de l’esthétique du Grand opéra français, malgré une dimension historico-politique bien moindre que dans les modèles du genre. La structure, l’équilibre de l’œuvre ne s’en trouvent cependant pas profondément modifiés. 

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En choisissant Robert Wilson, le Festival de Parme a clairement fait le choix de se détourner de l'esthétisme du Grand opéra. L’art du metteur en scène américain est rarement aussi parlant que lorsqu’il se confronte à des œuvres saturées d’émotions, musicales ou dramatiques. Mais ici, l’absence complète de regards échangés entre les personnages, le statisme prolongé de certaines scènes (le duo Léonore / Luna) s’avèrent frustrants et lassants, et donnent parfois l’impression d’assister à une version de concert. Toutefois, la gestuelle wilsonnienne reste d’autant plus efficace qu’elle est économe, le jeu des lumières et des couleurs, toujours étonnant de beauté et de pertinence (la scène entière basculant du bleu/gris au rouge sang au finale du premier acte) sont d’incontestables réussites, tout comme l’idée de situer l’action dans l’esprit de Verdi (présent sur scène) : des vidéos montrent une rue de Milan à la fin du XIXe siècle. Le musicien tisse des liens entre le livret sur lequel il travaille et son propre environnement : ainsi, des personnages muets apparaissent régulièrement illustrant, par leurs différences d’âges très marquées, l’extrême dilution du temps dans ce drame qui frappe trois générations (la mère d’Azucena, Azucena elle-même et son fils adoptif). Durant l’étonnant « ballet » (que les spectateurs n’ont pas tous apprécié !), la scène est envahie par des boxeurs (hommes, puis femmes, adolescents, enfants et très jeunes enfants) en shorts noirs et gants rouges : leurs gestes traduisent tantôt la violence de l'Être humain, tantôt la vacuité de cette violence, parfois son ridicule. Wilson pointe ainsi le fait que rares sont les opéras dont chaque scène est à ce point frappée du sceau de la violence.

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Musicalement, en dépit de l’acoustique du théâtre un peu cotonneuse et entachée d’une certaine réverbération, l’Orchestre du Théâtre Communal de Bologne et son chef Roberto Abbado offrent une interprétation impliquée, contrastée, racée et précise. Dans cette version, la diction française était une qualité primordiale : le pari est surtout gagné par le ténor et, dans une moindre mesure, le baryton. La prononciation française de la soprano reste correcte dans les airs (plus que dans les récitatifs), et gagne en précision au fil de la soirée. En revanche, Azucena et Ferrando sont difficilement compréhensibles. Vocalement, les comprimari (seconds rôles) Luca Casalin (Ruiz) et Tonia Langella (Inès) répondent avec assurance aux protagonistes dans les scènes qui les sollicitent. Marco Spotti est un Fernand au timbre plutôt clair pour le rôle. Dramatiquement, son incarnation (visage fixe, émacié, hagard, blafard) est saisissante. Franco Vassallo, à qui Wilson a donné la silhouette effrayante d’un personnage de Murnau, fait entendre une voix presque trop belle et chaleureuse pour le détestable Luna ! Son air du II (« Son regard, son doux sourire… »), superbement phrasé et au legato soigné, est particulièrement réussi. 

top-left.jpg Nino Surguladze - Le Trouvère par Robert Wilson (© Lucie Jansch)

 

Nino Surguladze fait entendre un timbre accrochant immédiatement l’oreille par ses sonorités sombres et parfois rauques. Son incarnation d’Azucena, dont elle possède les aigus, la puissance mais aussi les indispensables messe di voce du duo final avec Manrique remporte l’adhésion du public. La voix de Roberta Mantegna (Léonore) n’est pas la plus remarquable du moment : certaines sonorités sont parfois un rien métalliques ou nasales. Mais la musicalité de l’interprète est constante, elle possède une virtuosité suffisante pour le rôle, et le soin accordé à la ligne de chant (beau legato, superbe phrasé dans l’air de l'acte IV, couronné d’aigus lumineux), à la caractérisation du personnage, ou encore aux nuances (beaux aigus piani dans « Brise d’amour fidèle ») est incontestable. Enfin, Giuseppe Gipali, dans le rôle-titre dispose d'une voix de qualité égale sur toute la tessiture, jusque aux deux contre-ut de « Di quella pira » (ou plutôt : « Supplice infâme ! »), d’une assurance et d’une stabilité plutôt rares. Le timbre sait se faire vaillant ou tendre, avec de belles nuances très bienvenues dans les duos avec Léonore ou Azucena. Le chanteur fait montre par ailleurs d’un goût certain en évitant tout histrionisme (points d’orgue excessivement tenus, sanglots intempestifs, etc.) 

Cette soirée passionnante confirme la place de choix occupée désormais par le Festival Verdi parmi les festivals internationaux.

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Translation:

Spoiler

In the extraordinary Teatro Farnese of the Ducal Palace, the Verdi Festival of Parma allows to (re)discover the French version of Le Trouvère designed by Verdi for the Paris Opera in 1857. A production assembled with the greatest care, for a sometimes uneven but always exciting result!

The French libretto that Émilien Pacini wrote for the Trovatore's entrance to the Opera is not just a simple translation of Cammarano's text, as Edouard Duprez wrote for La Traviata or Rigoletto: it is a text intended to serve as a support for a revised work. Since Verdi wanted to meet the expectations of the French public, these modifications necessarily imply the presence of a ballet, placed here after the soldiers' choir that opens the third act. This is the most immediately noticeable modification, with that of the final of the work, including a revival of Le Miserere during Manrique's performance, or the removal of Léonore's cabalette in the third act: "Tu vedrai che amor in terra...". Others are more minute: the presence of ornaments in Leonor's first cabalette: "Burning love, sublime and tender love" (in place of the famous "Di tale amor..."), which Joan Sutherland sings in part in the astonishing Bonynge integral; or an orchestration supposed to correspond better to French taste, different conclusions for several arias or scenes, a development in Azucena's scene in front of the Count in the third act ("Take pity on my bitter pain...."..). Opera is thus more or less similar to the aesthetics of the Grand Opéra français, despite a much smaller historical-political dimension than in the genre's models. However, the structure and balance of the work are not profoundly altered.

By choosing Robert Wilson, the Parma Festival has clearly made the choice to turn away from the aesthetics of the Grand Opera. The art of the American director is rarely as meaningful as when he confronts works saturated with emotions, music or drama. But here, the complete absence of glances exchanged between the characters, the prolonged stagnation of certain scenes (the duo Léonore / Luna) are frustrating and boring, and sometimes give the impression of attending a concert version. However, Wilsonnian gestures remain all the more effective as they are economical, the interplay of light and colour, always surprising in terms of beauty and relevance (the entire scene switching from blue/grey to blood red at the end of the first act) are undeniable successes, as is the idea of placing the action in Verdi's mind (present on stage): videos show a street in Milan at the end of the 19th century. The musician forges links between the libretto he is working on and his own environment: thus, silent characters regularly appear, illustrating, through their very marked age differences, the extreme dilution of time in this drama that strikes three generations (Azucena's mother, Azucena herself and her adopted son). During the amazing "ballet" (which not all spectators appreciated!), the stage is invaded by boxers (men, then women, teenagers, children and very young children) in black shorts and red gloves: their actions sometimes reflect the violence of the human being, sometimes the emptiness of this violence, sometimes its ridiculousness. Wilson points out that few operas have ever seen a scene so violent.

Musically, despite the acoustics of the somewhat cottony and reverberant theatre, the Bologna Municipal Theatre Orchestra and its conductor Roberto Abbado offer a committed, contrasting, distinguished and precise interpretation. In this version, the French diction was an essential quality: the bet is mainly won by the tenor and, to a lesser extent, the baritone. The French pronunciation of the soprano remains correct in the air (more so than in the recitatives), and gains in accuracy as the evening progresses. On the other hand, Azucena and Ferrando are difficult to understand. Vocally, the tablets (supporting roles) Luca Casalin (Ruiz) and Tonia Langella (Inès) confidently respond to the protagonists in the scenes that solicit them. Marco Spotti is a Fernand with a rather clear timbre for the role. Dramatically, his incarnation (fixed face, emaciated, hagard, pallid) is striking. Franco Vassallo, to whom Wilson gave the frightening silhouette of a Murnau character, makes an almost too beautiful and warm voice heard for the detestable Luna! His air of II ("His gaze, his sweet smile..."), superbly phrased and with a neat legato, is particularly successful.

Nino Surguladze makes a sound that immediately catches the ear with its dark and sometimes hoarse sounds. Her incarnation of Azucena, of which she possesses the high notes, the power but also the indispensable masses di voce of the final duet with Manrique, won the public's support. Roberta Mantegna's (Leonor) voice is not the most remarkable of the moment: some sounds are sometimes a little metallic or nasal. But the performer's musicality is constant, she possesses sufficient virtuosity for the role, and the care given to the singing line (beautiful legato, superb phrasing in the aria of Act IV, crowned with luminous highs), to the characterization of the character, or even to the nuances (beautiful piani highs in "Faithful Love Breeze") is indisputable. Finally, Giuseppe Gipali, in the title role, has a voice of equal quality throughout the range, including the two counter-ut of "Di quella pira" (or rather: "Infamous Supplice!"), a rather rare assurance and stability. The timbre can be brave or tender, with beautiful nuances very welcome in duets with Leonor or Azucena. The singer also shows a certain taste by avoiding any histrionism (excessively held high points, untimely sobs, etc.)

This exciting evening confirms the Verdi Festival's place as an international festival.

 

Edited by Loo
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On ‎10‎/‎10‎/‎2018 at 8:11 PM, Anna Ko Kolkowska said:

There is already a topic for The Voice ". 

I will try to come to France this time to participate in the audience.  

 

Try to tell us wich dates you will choose.

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33 minutes ago, Loo said:

He likes to visit museums at night!  image.png.e7031cfa51561ca8f8a74acebfd1bb14.png

 

:blush-anim-cl: Maybe it's because he's then "left in peace", and can be private, and concentrate about the art... 😉

 

Love, love

me

 

 

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4 hours ago, mamiam said:

 

:blush-anim-cl: Maybe it's because he's then "left in peace", and can be private, and concentrate about the art... 😉

 

Love, love

me

I totally agree!
Seldom selfie, no autograph, no "You should do your album or concerts!"
We give him a royal peace at night, all alone!  :wub2:

Edited by Loo
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14 hours ago, miknikel said:

He's got a tiger in the engine this guy.       :cheer:

A Lion …….the one from Peugeot ….

1 hour ago, Loo said:

I totally agree!
Seldom selfie, no autograph, no "You should do your album or concerts!"
We give him a royal peace at night, all alone!  :wub2:

:mfr_lol:

 

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3 minutes ago, Kumazzz said:

:lmfao:

 

Who is the center guy ? :blink:

François Roelants, Marc Olivier Fogiel's husband ?

Edited by Loo
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