" L´Incoronazione di Poppea" in Madrid .

Do not forget!

Live broadcast from Teatro Real , Madrid! On 18.05.10 at 20.00 !

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We should try to record this great event!

I´m already [You must be registered and logged in to see this image.] .....................

I can't wait!![You must be registered and logged in to see this image.]

It would be great if someone could record this... my recording software started going bananas lately, not very reliable for recording streaming audio. [You must be registered and logged in to see this image.] If I get to hear it it will be a nice way to "warm up" for the production I'll be seeing on June 2.

ohhh that´s sounds exciting! Can´t wait!

Can someone tell me how to record it? (maybe via PM)
Than I would try to record it, too!

[You must be registered and logged in to see this link.], [You must be registered and logged in to see this link.] [You must be registered and logged in to see this image.]
I record any streaming audio and video from Internet via Jaksta or Replay Media Catcher

nightspell, are any of these mac software?

karenpat
No, I'm sorry, it seems like Windows only:
Jaksta Streaming Media Recorder - x86 (32 bit), x64 (64 bit) Windows XP/Vista/7
Replay Media Catcher - x86 (x32), Windows XP/Vista/7

karenpat
maybe Audacity 1.3.11 (Beta) try it!

thank you nightspell!
I just downloaded Replay Media Catcher and installed it, now I have to try it out!

I didn´t found a working Jaksta

Joanna, it seems Audacity will only record sounds from built-in or external microphone and line-in, so it won't record sounds from the sound card. (like softwares). It seems like a lot of new recording software works like that - the one I use now, sadly unreliable, was the only one I could find that recorded ALL sounds.

There is a possibility that I can use my old mac for streaming recordings, it has a more reliable recording software (that won't install properly on this mac) but it's literally falling apart.....

Vandea
you don't need Jaksta if you already have Media Catcher. They much the same, I have both programs, but Catcher I like best. And if it will be working on your system, don't need to search for anything else ("working" means that it will download all audio-video content that you see in the web).

Media Catcher is working perfectly! Thank you again for the hint!

Now hopefully nothing gets in the way on the 18th

You're welcome!

karenpat

change your settings -> strereo mix (record stream external)


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I don't have any options like that.... I can choose between Built-In Microphone and Built-In Input in the preferences menu. [You must be registered and logged in to see this image.] I tried recording with the latter settings but it just records silence.

Ups...how is it possible?Maybe try to download Audacity Portable 1.2.6 Rv3..or maybe better the basic version of this program? I'll try to find a similar program.. [You must be registered and logged in to see this image.]

Hm...sometimes ( but only sometimes!) it works also with a simple "DownloadHelper"... [You must be registered and logged in to see this image.]

or Screamer Radio! it's also really good and easy program! [You must be registered and logged in to see this image.]

The first announcement of great events!

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Joanna

O M G ! OOOh Mmmmmy!
He looks so tired....but another (little ) photo..... [You must be registered and logged in to see this image.]

Thank you! [You must be registered and logged in to see this image.]
Maybe, Maria would like to translate this article for us..... [You must be registered and logged in to see this image.]

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( [You must be registered and logged in to see this image.] )

a little larger [You must be registered and logged in to see this image.]

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Great pics!! Thank you two.

It seems to be the really famous Teatro Real's scene. Oh, my God.

Best regards,

Diabolus in Musica.

Joanna

THAT IS........................... [You must be registered and logged in to see this image.]


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Philippe Jaroussky, The voice of a child in a man, for the Nero at the Real.

Madrid May 9 ...

The countertenor Philippe Jaroussky is "very lucky" to have been born in 1978 instead of 3 centuries ago, when his angelic look and specially his pure, crystalline voice would have made him join, for sure, the numbers of the castrati, he says to EFE making a gesture of cutting with scissors.

Everything in Jaroussky, who will interpret Nero in Monteverdi's "L'Incoronazione di Poppea" on Monday at the Real, is far from the operatic conventions of today: he is thin and "cool" like a model as well as seraphic as a choir boy, and his voice, sweet as a woman's and assured as a man's, emerged from his body when he was already 18 years old.

"I saw a concert by a french countertenor and it moved me so much I said to myself "this is what I want to do", and so, without ever having sung, he put himself in the hands of a teacher who after a while told him that at first she had no hopes of succeeding because his voice was "too small".

Now, when his highs are a real banquet of colors and varieties, able to rise and fall as if playing the violin or the piano he studied, there are differences of opinion whether he is a "sopranist" or a countertenor, both voices connected to the "falsetto", a voice that simulates a woman's high notes.
The subtle difference is that the first one "fakes" this voice without including all the physical faculties of head and chest voices, and in the second one it is as if the larynx had not developed completely and allows a man to utilize all the power at his disposal, incredible registers in a man.

"I started as a sopranist when I was very young and I ended up exhausted trying to sing so high. Five years later I started to sing lower and now I can say my voice is more like a boy's", explains the french artist suggesting again the emasculation with a scissoring gesture.
"At bottom I think, maybe, I am a little childish, a little Peter Pan" admits the artist , who is "obsessed" that his voice sound "natural", a prolonging of his speaking voice: "my easiest way to make music".

Jaroussky, who owes his Russian surname to his great grandfather, became the first countertenor "best seller" thanks to his album "Carestini", a homage to the figure of a castrato who grew under the shadow of the all powerful Farinelli.

"The history of the castrati is fascinating and their singing a big paradox: they had a large body with big lungs but under-developed vocal cords. Not the same as a countertenor but, truly I dream about what they did, their color, for inspiration."
There are "things " he adds that a countertenor cannot sing, it needs a mezzo-soprano, this is why, he says, there are many pieces interpreted by Cecilia Bartoli -that also dedicated an album to the castrati- which "he can't".
He says his role in "L'Incoronazione di Poppea", a production of La Fenice from Venice in which he shares main role with that "scenic animal", the exuberant Danielle di Niese, is "very difficult" because he must balance exquisitely the hysterical outbursts of his character with the amorous sublimations, dramatic parts with vocal ones.

It is a complex role because Jaroussky, who sang the role of the emperor for the first time when he was 21, does not want to make of the character a "baddie" but rather as a dreamer, a poet, for whom love is the most important thing, "an angel, although perverse".

"There are moments in which the voice has to be darker, it cannot be crystalline and when Nero borders madness I run the risk of being too high so I have to be aware of every moment. I have to put my 8 senses in each note", jokes Jaroussky who will be directed by the "eminent" baroque conductor William Christie at the head of Les Arts Florissants.

Concha Barrigos
Translated by Maria!

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Many,many thanks!!! [You must be registered and logged in to see this image.]

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Another announcement! closer,closer and closer!! [You must be registered and logged in to see this image.]

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I'm not sure... if I understood....This event will be released on DVD?? [You must be registered and logged in to see this image.]

EEEE! Come to think of it, he hasn't been in that many DVD released productions..there's Il Sant'Alessio, are there any more at all??

Yes, it will be released on DVD.

Teatro Real is co-producing (with La Fenice) the complete trilogy of Monteverdi's operas. Last year was released the first DVD (L'Orfeo), this year will be released the second (Il ritorno...) and, probably, we could see "L'Incoronazione..." on stores next year. Les Arts Florissants and William Christie performed all of them.

Best regards,

Diabolus in Musica.

It's a great perspective! it would be a priceless treasure! [You must be registered and logged in to see this image.]
Thank you for answer! [You must be registered and logged in to see this image.]

Diabolus
Joanna

Jubilaaaaaaaaaaaaaaaaateee!!!!

DVD!!!!!! O M G !!!! I´m screaming, jumping , singing, dancing!!!!!

People!!!! THAT´s GREAT!!!!!

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whooohooo! A DVD that sounds awesome!!!! [You must be registered and logged in to see this image.]

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Joanna [You must be registered and logged in to see this image.]

You´re the best info- scout!

The pics are just awesome!
The Emperor´s noble head on m-me De Niese lap .... pietá, signori! [You must be registered and logged in to see this image.]

And the both Nerooone and Ottooone..... great! [You must be registered and logged in to see this image.]

I'm SO glad this will be a DVD... Somehow while reading the articles - before I saw the video of course - I didn't know Max Emanuel Cencic was part of the cast... Now I'm over the moon. [You must be registered and logged in to see this image.] And of course Danielle De Niese will be a great Poppea, I've seen clips of the Glyndebourne production on youtube, with Iestyn Davies as Ottone. [You must be registered and logged in to see this image.]

karenpat

I also saw the excerpts from "Poppea" with Danielle De Niese and Alice Coote as Nerone and was already excited and a bit afraid about the staging of the "our " one. But here, an very interesting scene, for example. [You must be registered and logged in to see this image.]

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( Can even imagine our Emperor , molto furioso , he he) [You must be registered and logged in to see this image.]

L'Incoronazione di Poppea

With this opera the Monteverdian trilogy the Teatro Real began 2 seasons ago is concluded.

Monteverdi's opera is presented in the Teatro Real de Madrid until May 28. In the pit one of the most imprtant interpreters of baroque music, William Christie will be leading his period instruments ensemble Les Arts Florissants. In the principal roles shines the soprano Danielle de Niese in the title role and two of the brightest countertenors of today, Philippe Jaroussky and Max Emanuel Cencic.



What is important about the new production of L'Incoronazione de Poppea"? How has it been working with William Christie and the Arts Florissants?

Philippe Jaroussky.- Before I accepted the role of Nerone I already wanted to work with William Christie. To play this character you need the support of the musical director. I enjoy tremendously working with him because he trusts me. So when they told me the director was William Christie I thought that I could do once again the role of Nerone.

Max Emanuel Cencic.-Another important thing about this production is that it includes Pier Luigi Pizzi, a famous scenic italian director. So it is a very special production. It is not often that the artistic part as well as the musical part are of such high level in a baroque opera.

PJ.- Maestro Pizzi has a long trajectory and this is also the first time to direct L'Incoronazione de Poppea. I think he is very excited. Two years ago he represented L'Orfeo here in the Teatro Real, and a year ago Il Ritorno d'Ulisse in Patria, also by Monteverdi. On the other hand the libretto is one of the best librettos in the story of opera, maybe the best one. All the characters are very complex, each character has a dark side. It is very interesting for a scenic director to do this opera, it is something special for all scenic directors, not just the singers.

Who are Nerone and Ottone?

PJ.- Nerone is complicated to explain. On one side we have to think who he really was, since he was a historical character , but we also must talk about the libretto. I have my own interpretation of the character. I want to play a Nerone who is not historical from beginning to end of the opera, he is not only a mad man or a cruel man. If you study the history carefully, the first years he was a good emperor, he began to go mad at the end. But he did not choose his destiny. In this opera he is completely in love with Poppea with who he discovers something new and lives a kind of rebirth.It is the first time a woman looks at him as a man and this fascinates him because it is something new for him. I think this character has to appeal to the people. He is not exactly a bad person, he is a dreamer and a poet. I really would like to represent a moving Nerone, I don't know if I can. I am trying to express not only his madness but also his sensitiveness.

M.E.C.-Ottone is Poppea's lover. Until he arrives one day and finds her with Nerone. Then his whole world falls down because he is madly in love with Poppea. It really is a passionate love, emotionally and sexually. But she has decided to be the empress and this is why he goes with Nerone and Ottone becomes an obstacle.The author of the libretto, Busenello, paints very well a tormented man , frustrated in life because of something he cannot obtain emotionally, and who also does not have the strength to fight for certain ideals, he is a loser. In this opera nobody acts freely, there is always a motive. And this is the kind of character building in the venetian opera in the 17th century, where human behavior is not presented in an idealized way but in a more mortal(realistic)way. Even 400 years later we can still identify with the characters because they do not belong only in Antiquity and their philosophy is valid at all times.

Philippe Jaroussky has interpreted L'Incoronazione de Poppea several times , as with the Arpeggiatta and Christina Pluhar. What aspects in Monteverdi's L'Incoronazione de Poppea are you interested in?

PJ.- This opera is very special for me because the first time I stepped on the stage was in L'Incoronazione de Poppea 10 years ago and I was Nerone three times when I was only 21.I think I was completely crazy to be doing this, I was totally unaware of the difficulties of the role, but I felt very happy and excited. When I started working again 6 months ago I had two feelings, on the one hand I remembered the role perfectly and it was very easy to sing it again, but on the other hand I realized the enormous difficulties that playing Nerone has for a countertenor, since normally it is interpreted by a mezzo-soprano, a woman, and the qualities are, of course very different. I think a woman can be much more dramatic, I can do somewhat of a "big boy", very capricious. It is different. The moments when Nerone behaves in a very hysterical way are particularly difficult, since you have to maintain the distance between what you want to do and what you can do on stage. If you try to go further it could be dangerous for your voice. You really need a few days to adapt.

What characterizes the countertenor voice?

PJ.- The perception is changing greatly because 20 years ago there were not that many countertenors. Now a new generation is in the stages , someone said there are over four hundred singers specialized in this type of voice. Of course the more countertenors there are the more variety of voices there will be. I think that in the past countertenors had a lower register and were not able to play very dramatic roles, but this has changed thanks to the new techniques. I am surprised to keep finding voices with different capabilities. I remember the first time I heard Max I was very surprised by the dramatic quality of his voice. My voice is lighter. I think we are both in the same range but we sing in very different ways.

M.E.C.- Well, I think each one of us has a very different idea of what is drama.

PJ.- I admire Max greatly. We love doing projects together and I think the contrast between such different colors is very pretty.

M.E.C.-I agree. I also admire Philippe.

How do you manage to do such natural falsetto?

M.E.C.- I think it is a matter of practice. Of course it is easier to do a natural falsetto when you are a child, because the muscles are more flexible, which allows you to use your voice further. There are also examples of singers who have an initial predisposition. One such case is Jochen Kowalski, a singer with a very flexible voice and a very feminine vibrato that never sounds forced.

PJ.- To be a countertenor is something special .One really wants to be a countertenor. I love David Daniels' story who began as a tenor and one day commented to his teacher he had no problems with his "other voice". He then started singing very naturally in falsetto.

M.E.C.- Let's not forget David Daniels sang as a child. It is very interesting to watch how some children who have sung till they were 14 or 15 with no problems continue singing falsetto and have great difficulties to learn to sing in chest voice. They use head voice very naturally and this is how they discover their "other voice".

How do you feel in Madrid?

PJ.- This is a special theater to work in. We are very happy. The atmosphere is very pleasant. People take care of us and we feel at home.


Translated by Maria as well! [You must be registered and logged in to see this image.]

Little reminder...

Only two days till the live broadcast! [You must be registered and logged in to see this image.]
Whohooo! [You must be registered and logged in to see this image.]

wheee! [You must be registered and logged in to see this image.] Today is Norway's constitution day, so I have another reason to celebrate [You must be registered and logged in to see this image.]

This one, with video:

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Some reviews were published today. The critics says that Philippe Jaroussky was splendid on his role. Of course, I'm sure of that.

Best regards,

Diabolus in Musica.

Diabolus in Musica
Many thanks for this! [You must be registered and logged in to see this image.]
I add only....

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I'm surprised ..at this short episode, Philippe, as usual,is phenomenal ! [You must be registered and logged in to see this image.] ... but god .... his dress and makeup [You must be registered and logged in to see this image.] ...that's what I was afraid.. [You must be registered and logged in to see this image.]

Señoras y Señores!

That IS...... unbelievable! I´m here still shocked .....Poppea is as sensual as always, that´s for sure! But the Emperor.........( the first look [You must be registered and logged in to see this image.] )

This feather coat, white make-up a lá vampire... dark lips...... extreme short hair, naked breast, barefoot..... [You must be registered and logged in to see this image.] so impressive............and then - his boyish voice with the darkness in it.............. [You must be registered and logged in to see this image.]

It is an VERY unusual sight at the Emperor.....and I feel , that Philippe likes it......

[You must be registered and logged in to see this image.] Needless to say, how much it was pleasant to me, because vampire-look and mysterious-dark image with sexy sensuality and a bit of vulnerability is my eternal weakness.
This new Philippe's role is just a waking dream [You must be registered and logged in to see this image.]

nightspell

Oh yess....I was sure, you´ll love this ghost -castle atmosphere ! [You must be registered and logged in to see this image.] A bit macabre ,[You must be registered and logged in to see this image.] sensual , violent , but also sensitive and vulnerable in the same time ....



The new translations by Maria are there!

De Niese and Jaroussky turn the "baddies" Neron and Poppea into
magnificent.

Poppea and Nerone were egotist and vile, but Danielle Denise and Philippe Jaroussky
have made them "magnificent" and the Real not only has joined their
side but also has given them a thunderous applause.
The first "Incoronazione de Poppea" that is played in the Real, and with
which the spanish coliseum closes the trilogy that has been dedicated since the
year 2008 to Claudio Monteverdi has been conducted by William Christie leading his Arts Florissants with the mastery that characterizes him.
The north american soprano Danielle De Niese (1979) has made her debut in the
Teatro Real just like she wanted, having the public on the side of her
character, which she has played with a mixture of perversion, lasciviousness
and selfishness on top of tenderness, charm and vulnerability.

Beside her the french countertenor Philippe Jaroussky (1978) possessor of a
supernatural voice, like that of a child in a man's body, has played a magnetic
and solemn Nerone as well as delicate and even helpless. .
The convoluted geometry of sighs and lust of this opera, considered the most erotic
of the 17 century, has been perfectly matched with the characterization of
Nerone who embodies the unleashed desire, and Poppea, the blindly ambitious
woman.
Their comings and goings from reason to ecstasy, from calculation to the most
feverish desire, have been synchronized with the firm steps of that who knows
what they are doing, even if De Niese had not sung the role in 2 years and
Jaroussky had done it 10 years ago and
had not returned to it.
The easy-going execution of the "vocal continuo" in this work, in which
Monteverdi makes no distinction between recitatives, ariosos or ensembles, to
exalt the sung melody, culminated with an awesome interpretation of the most
famous love duet of the 17 century, "Pur ti miro, por ti godo".
The way in which they have expressed the contained desire with the premeditated
delays in the phrasing that suggest the wait, the game, the anticipation of
ecstasy, has been as painstaking as Christie's conducting.

De Niese and Jaroussky have been accompanied
by the excellent Anna Bonitatibus in the role of Ottavia, and who has
provoked a long silence in the moving lament "Addio" and by Max
Emanuel Cencic as Ottone, very familiar too with the demands of baroque music.
Among the most cheered in this "marvel of modernity" according to
Christie , in which are present all the
clues of modern opera, have been Katherine Watson, english singer (Amor) and
the portuguese singer Ana Quintans (Drusilla).
The scenic director, scenographer and designer Pier Luigi Pizzi who will be 80 next
year, has created a dark ambiance, cold and a bit ghostly with a sort of roman
palace in black and white, that turns and at the reverse shows ha facade of a
mansion or Seneca's library.(Antonio Abete).
Pizzi's estheticism goes from the clothes of Nero's guard, black shorts and t-shirts
with "paillettes" and ninja masks, to the spartan simplicity of
Amor's outfit, a black feathered cape for Nero or the purple delirium in which
Arnalta (Robert Burt) makes everyone laugh at the end.
In "L'Incoronazione de Poppea" by Monteverdi (1567-1643) he abandons mythology to develop a historical drama, with a libretto by Giovanni Francesco Busanello,in which guided by "virtue, fortune and love" exacerbated passions and bloody struggles for power are spilled.
Christie, who as well as conducting plays the harpsichord, organ and regal, and the 17
musicians in Les Arts Florissants, have interpreted the score for the first
time with the original instruments.


******************************************


The production of the third opera in thу monteverdian trilogy's an unqualified success.
They have used John Cable's edition, which summarizes and abbreviates
others like the recent one of Vartolo. The opera has more unity and is more
compact, even if it is still unclear what exactly was written by Monteverdi and
others like Cavalli, Sagrati or Ferrari. We continue to be amazed by the
impeccable construction and the articulation of all the kinds of singing known
at the time: virtuoso singing, simple singing, songs to attract love….Sensual
song in the widest sense.
There is an almost perfect fusion between recitative, arioso and aria. Christie and
his 12 able musicians attended with subtlety and compact sonority these
aspects.The choice of tempos, not always stressed energetically, and of
timbres, never clear , is very judicious. The same as the voices, the ones we
heard are approximately very like the ones that made their debut in 1643, a few
months before the composer's death.


Jaroussky is a soprano countertenor, subtle, exquisite in the delineation, effortless in
the emission, a classy Nerone, and Cencic, mezzo countertenor rather than alto,
which put him in a bit of difficulty in the lower range, dominate the modal
register.


De Niese does not possess a voice to die for but she sings with irreproachable
musicality. Gentle and fresh Ana Quintans' Drusilla. Maybe a bit loud and
vibrating the mezzo Bonitatibus, a solid Ottavia. Abete is a chamber bass,
insufficient for Seneca even if it is in fashion. As for the rest, perhaps
minus the Mercury sung by Damian Whitley and the nurse, exaggerated and a
little off Jose Lemos, more tenor than countertenor, we must approve. Pizzi
presents a neoclassic scenery with some very beautiful details and other very
ugly ones, an accurate diversification of actions, well oiled, with some
unhappy costume details. Mirrors are used and the light is managed adroitly. He
handled intelligently the more risque scenes, suggested by the great librettist
Busenello, powered by the sonority and the instrumental phrasing and by the
purposeful voices. A propos of this we very much liked the erotic duo of Nerone
and Lucano, an adequate Mathias Vidal. The psychological traits of the main
characters were accurately portrayed.

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words fail me...

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( with a short video!)

Joanna

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P.S.

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Translated by Maria!

Teatro Real closes Monteverdi's trilogy with L'Incoronazione de Poppea", perfect mix of word and music.

The Teatro Real the trilogy dedicated to Monteverdi closes, with L'Incoronazione de Poppea , a "perfect mix of words and music" and the most erotic opera in the 17th century, William Christie leading the Arts Florissants and Pier Luigi Pizzi directing the mise en scene presented this piece today, concluding the cycle beginning with L'Orfeo followed by Il Retorno de Ullise in Patria, with the "sacred monsters" of the interpretation Danielle De Nise, Philippe Jaroussky, Ana Bonitatibus and Max Emanuel Cencic in the main roles.

This new production will be in the teatro Real collaborating with the Teatro La Fenice in Venice from the 16 to the 28 of May. It shows the dialectic confrontation between Virtue and Fortune. Written when Monteverdi was 75 it is the first one to abandon Mythological themes and take on a drama full of passions and power struggles. The composer does away with the chorus, dances and chooses to exalt the music.

"It is a perfect combination of words and music" said Pier Luigi Pizzi , who added that "it is a marvelous adventure that ends", the staging of this trilogy brought to the spanish coliseum since 2008 (they will all record a DVD).

With L'Orfeo, "genesis of this trilogy and of the whole opera" as he remembered, there arrived"Ulises" ' which is something else". In Poppea Monteverdi's 'personal stamp" is very clear even if "it is not his entirely".

Search for Beauty

In his search for beauty and poetry Pizzi adds in this opera the "search for beauty in chromaticism". It is also a pictoric work because "it offers different colors at each musical moment",he explained.

Before Poppea's debut Christie stressed that it was "something wonderful and sad" at the same time, since it concludes the trilogy."It is one of the best operas I have known" the musical director said, who qualified the main singers as "truly sacred monsters in the world of music".

In the case of Danielle de Niese, for the first time in the Real, who plays Poppea, Pizzi said she was a "stage animal" who "controls everything". "She absorbs experiences and makes them her own", he asserted. The soprano in turn wanted to thank Christie, her "mentor" and Pizzi, "a scenographer that appreciates art in everything he does".

De Niese forms the "ideal couple" with Philippe Jaroussky (Nerone) ."Blood and emotion were present throughout the staging" said Pizzi. He referreed to Anna Bonitatibus (Ottavia) as "an extraordinary singer, rigorous" who joins her art to Max Cencic(Ottone). Other voices that shine in the singing were Jose Lemos, Terry Whey and Robert Burt.

[You must be registered and logged in to see this image.]Many thanks to Maria for all translations!


and another.. [You must be registered and logged in to see this image.]
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