1823년 눈보라치는 밤, 한 노인이 자살을 시도하다 실패하고 신부에게 자신의 죄를 고백한다. 비엔나 왕실의 궁정음악가 살리에리는 새롭게 떠오르는 천재 작곡가 모차르트의 소문을 듣고 그의 천재성을 확인하려 한다. 모차르트가 그의 약혼녀를 범하고 오만하고 방탕한 생활을 거듭하자 그러한 모차르트에게 천재성을 부여한 신을 저주하고 그를 증오하기 시작한다. 한편 빈곤과 병마로 시달리던 모차르트는 자신이 존경하던 아버지의 죽음에 커다란 충격을 받고 자책감에 시달린다. 살리에리는 이를 이용해 모차르트가 아버지의 환상에 시달리도록 하면서 진혼곡의 작곡을 부탁하는데...
어느 날 유튜브에서 접한 모차르트의 레퀴엠이 스무 살 문제소녀 카타리나의 인생을 180도 변화시켰다. 도시 외곽의 남루한 현실에서 벗어나, 예테보리의 콘서트홀에서 새로운 삶을 시작하기로 다짐한 것. 하지만 아름다운 세계라 믿었던 그곳에는 유부남 마에스트로와의 위험한 관계, 거짓말 그리고 배신이 그녀를 기다리는데…
오페라를 스크린 위에 올려놓은 듯한 영화입니다. 처 음 접했던 베리만 영화들과는 좀 다른 느낌을 가집니다. 인물과 물건들을 다루는 방식이 독특하게 다가온 영화기도 합니다.
Letters, Riddles and Writs is a one act opera for television by Michael Nyman broadcast in 1991.
Wolfgang Amadeus Mozart, a rowdy young prodigy, arrives in Vienna, the music capital of the world – and he’s determined to make a splash. Awestruck by his genius, court composer Antonio Salieri has the power to promote his talent or destroy his name. Seized by obsessive jealousy he begins a war with Mozart, with music, and ultimately, with God.
In the spotlight of global media coverage, the first transgender woman ever to perform as Don Giovanni in a professional opera, makes her historic debut in one of the reddest states in the U.S.
천재 시인 로렌조 다 폰테와 천재 작곡가 모짜르트의 운명적 만남!
신부가 되려던 다 폰테는 방탕한 생활로 베니스에서 추방당한다. 다 폰테의 시적 재능을 높이 산 카사노바의 도움으로 음악의 도시 빈에서 새로운 인생을 시작한 그는 모짜르트와 함께 오페라 ‘피가로의 결혼’으로 큰 성공을 거두지만 그의 자유로운 생활은 계속된다. 다 폰테의 성공을 축하하던 카사노바는 자신을 모델로 ‘돈 조반니’를 새롭게 만들 것을 제안하고, 다시 한번 최고의 오페라를 만들기 위해 고심하던 그는 모짜르트를 설득해 오페라 작업을 시작한다. 아름다운 여인 아네타의 마음을 얻기 위해서라면! 베니스에서 아쉽게 헤어졌던 아네타와 우연히 재회한 다 폰테는 아름답고 순수한 그녀의 매력에 빠져든다. 용기를 내 아네타에게 사랑을 고백하지만, 지난날 그의 자유로운 여성 편력에 진심을 믿지 않고 냉정히 돌아서는 그녀... 다 폰테는 아네타에게 자신의 진심을 전하기 위해 새로운 결말의 ‘돈 조반니’를 써내려 가기 시작하는데…
This is an effective staging, though the set looks medieval and the costumes are modern. It’s well paced, well played, well sung. Jonas Kaufmann is an ideal Tito. His voice is not only beautiful and flexible, it’s also ample, retaining warmth and sweetness when he sings out. The character of Tito is too good to be true, but Kaufmann makes him intense, noble, and beliveable. Vesselina Kasarova is riviting as Sesto. Her voice is gorgeous and multi-colored, her technique exquisite, her immersion in the role complete.
Eleven-year-old petty criminal Maroa lives with her violent grandmother Brigida in Caracas. After her boyfriend Carlos is involved in a shooting, Maroa is arrested and sent to a school where Joaquin conducts the youth orchestra, and he asks the naturally talented Maroa to join. Days now revolve around the classes that Joaquin, the shy and unconventional teacher, gives her. He is immediately interested in this talented young girl, who lacks all notion of discipline. Joaquin, the only person to offer hope in the midst of her rejection, finds that through Maroa, his world has also changed forever.
Lucy Worsley traces the forgotten and fascinating story of the young Mozart's adventures in Georgian London. Arriving in 1764 as an eight-year-old boy, London held the promise of unrivalled musical opportunity. But in telling the telling the tale of Mozart's strange and unexpected encounters, Lucy reveals how life wasn't easy for the little boy in a big bustling city. With the demands of a royal performance, the humiliation of playing keyboard tricks in a London pub, a near fatal illness and finding himself heckled on the streets, it was a lot for a child to take. But London would prove pivotal, for it was here that the young Mozart made his musical breakthrough, blossoming from a precocious performer into a powerful new composer.
A new way to approach classical music, more fun, more original, more entertaining. Mozart Band arrives, and with it his four young members: Mozart, Betoven, Chopin and Verdi. Since the filming of a music video for a superstar to the mysterious theft of a valuable harp, Mozart and his friends live a host of incredible adventures. There comes a symphony of humor, adventure and above all, lots of music.
밤의 여왕은 타미노 왕자에게 자신의 딸인 파미나 공주가 자라스트로라는 폭군에게 납치되었다며 구출을 도와달라고 한다. 타미노는 새잡이 파파게노와 함께 파미나를 구하기 위한 여정을 시작한다. 그들은 여왕이 건넨 마술피리의 도움으로 공주를 만나지만, 자라스트로가 여왕의 말과 달리 폭군이 아니고 철학자라는 사실을 알게 된다. 타미노 왕자는 그들의 일원이 되기 위해 침묵의 시험을 받게 되고, 공주는 말 없는 타미노를 오해하기 이른다.
Diana Damrau, Ildebrando D'Arcangelo, Pietro Spagnoli, Marcella Orsatti Talamanca, and Monica Bacelli star in this La Scala production of the Mozart opera conducted by Gerard Korsten and directed by Giorgio Strehler.
This release contains the celebrated 2006 production of Mozart's Nozze di Figaro that was directed for the stage by Claus Guth at that year's Salzburg Festival. Ildebrando D'Arcangelo takes the title role, and gets support from Anna Netrebko as Sussanna, Bo Skovhus as Il Conte Di Almaviva, and Dorothea Roschmann as La Contessa. Nikolaus Harnoncourt conducts the orchestra.
The most annoing things about this production is that the actors, Voyager I and II, spoke most of the recitatives as the singers on the most part were making hand jestures to go along with the spoken words, and the Voyagers' weird distracting seizure movements, jestures and bodyslamming themselves to the ground while the singers sang. It's amazing how the singers could focus on their arias and keep their composure.
A young woman isolated by her fear of the inevitable finds solace in an unlikely digital companion, forcing her to reevaluate her life, her relationships, and herself.
Wolfgang Amadeus Mozart's Don Giovanni is performed live at the Theater an der Wien in this 1999 production starring Carlos Alvarez in the title role and featuring the music of the Choir and Orchester der Weiner Staatsoper performing under the guiding wand of conductor Riccardo Muti.
DON GIOVANNI is one of the timeless classics of all opera. Mozart’s music, and the words of his great collaborator Da Ponte, are brought to life in Francesca Zambello’s engrossing production with its rich and colourful designs by Maria Bjornson. The music is memorable, dramatic and enjoyable: from the seductive solo voices of the famous ‘La ci darem la mano’ to the fabulous ensemble as Don Giovanni’s infatuated conquests, vengeful victims and their outraged relatives join forces for justice. And retribution does finally come to Don Giovanni, a serial womanizer and a murderer, with the searing flames of Hell ready to engulf him. Simon Keenlyside heads the outstanding cast at the Covent Garden Royal Opera House, conducted by renowned Mozart expert Charles Mackerras.
Mozart's second collaboration with the mercurial librettist Lorenzo da Ponte is among the very blackest of black comedies. Glyndebourne welcomes back the winning team of director Jonathan Kent and designer Paul Brown, while the music is conducted by Vladimir Jurowski. In the title role, the bass-baritone Gerald Finley, joined by Luca Pisaroni, Kate Royal and the young Russian soprano Anna Samuil.
