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Le Nozze Di Figaro [Blu-ray]
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Descripción del producto
Le Barbier de Séville de Rossini et Don Pasquale de Donizetti avec Juan Diego Flórez / Le Chevalier à la rose de R. Strauss avec Rénée Fleming et Jonas Kaufmann / Les Noces de Figaro de Mozart avec Anna Netrebko / Casse-noisette de Tchaïkovski avec l'Orchestre du Théâtre de Mariinsky sous la direction de Valery Gergiev. Versions prestigieuses de grands classiques du répertoire servies par les plus grands interprètes d'aujourd'hui, captées en haute définition pour apporter des images d'une beauté stupéfiante et procurer une précision du son remarquable (deux formats : PCM Stéréo, DTS-HD master audio 5.0 ou 5.1), le tout agrémenté de sous-titres et de bonus divers.
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Todos están magníficos en sus respectivos papeles. Las pegas puntuales, de haberlas, quedan para los expertos en la materia.
Para mi gusto, destacaría a un imponente Ildebrando D'Arcangelo, como Fígaro, brillando más o menos al mismo nivel los restantes protagonistas.
Uno de los principales atractivos radica en el acompañamiento de Harnoncourt y la Filarmónica de Viena, donde deben existir muy pocas dudas para asegurar que en el foso es la indiscutible número uno del mundo. Harnoncourt siempre ha sido un excelente mozartiano, y su sentido de lo teatral, entrando perfectamente en todos los matices de lo jocoso, propio de esta ópera buffa, ayuda a redondear una velada magnífica.
La única pega radica en la monótona y poca imaginativa puesta en escena, en lo que a los decorados respecta. Transcurre siempre la acción en una amplio hall, con varias puertas de acceso (por las que entran y salen los personajes), del que parten también unas amplias escaleras que conducen a una supuesta planta superior que no forma parte de la representación.
Es esta puesta en escena lo que me impide otorgarle las cinco estrellas a esta representación que en lo musical debe tener muy pocos rivales, sin que tampoco se pueda acercar a la histórica e insuperable de Erich Kleiber (CD, Decca).
Muy buena calidad de imagen y sonido.
Formato: 16:9; Subtítulos en varios idiomas (español); Sonido, DTS-HD 5.1, PCM Stereo, PCM 5.1 - 1080 i.
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If you are ready for a new Figaro (this doesn't mean you are gonna replace your old Figaro versions), buy it.
If you like good graphics and good sound. Buy it.
If you are looking for a good orchestra with a huge conductor and good (not best) singers, buy this.
If you are looking for something new in Mozart's Opera, without changing the libretto, just with a new reading of it, buy it.
If this is the first time that you are coming to "Le nozze di Fígaro", don't buy it.
If you are not ready to see your Figaro slow and sad. Don't buy this DVD.
I got myself crying at the end of this "Le nozze di Fígaro", when Rosina sang "Piú docile, Io sono, I dico di sí" and my ears could not believe in that slow and strong march at the end.
Actually, I must admit that my favorite Fígaro will always be the "comedia", but this "tragedia" was very well done.
Harnocourt's task here was to turn a very soft and funny opera into a very complex human being's relationship. He did it very well.
Before listening to this Opera, I could never have imagined a "Figaro" in a Drama, but this opened my eyes and I wait anxiously for new versions of it.
This, rather than ruinning Mozart's music shows that it is so sublime that with a bit of slowness and pushing it (without blinding the singers) a little you can, with a lot of wit, change the spirit of the thing.
By using dark and big scenarios, the director brought a sadness to the house. This , I think, fits very well the idea of transposing the opera from the 18th to 20th century.
All is right here, in the 18th century, the treason was something more common and funny. In the 20th it had changed. To betray your husband/wife was something really ashaming. You can see that Susanna (in this version) really betrays Figaro with the count and that she is divided. Ana Netrebko says, in the making off that a person can love two people and this, I think, is true.
You can see here an anger "Contessa" and a very violent "Conte". The only carachter for me that looses its strength is Figaro. Here he looks like a man, commanded by the 2 women and this is a bit concerning, couse the name of the Opera is The marriage of Figaro, thus, he should be strong and I didn't like this submission.
Well, with all this, I just wanna express that I enjoyed this production, though it is not the usual way this opera is done.
The good points for me are: The strings in the orchestra. They are really impressive and you can notice it in the 4th act arias, where they are demand to be great. The winds are not in the same level, but are ok;
The inclusion of the Marcelina's Aria, which is sometimes cut off from the opera, but in this case, is very important for the plot, cause explains what women are feeling there.
Harnocourt know how to conduct one good orchestra and he does it very well here. Some reviewers said he is too slow here, but this is part of the make up.
The Finale in the fourth act is great and combines with the DARK air in the whole Opera.
Scenario and Filming are amazing. The "Cupid" is also a very enjoyable additional.
On the other hand, there are bad things: The choreography is ugly. If they tried a realistic Opera, why to use these ugly dances?
In the wedding I got disappointed, the scene does not work. The women's choir is terrible. They turned a beautiful girls' crew into a German female army.
Don Bartolo is not well played here. The first scene of him, in a wheelchair causes anguish.
I didn't like d'Arcangelo like Figaro. You cannot notice him in the stage. His voice, on the other hand, is nice and his Italian is perfect (off course) .
I hope to have helped and I rated it 5 stars cause it is in most, really beautiful and new. Nevertheless, I would never change my "Ópera Buffa" Figaro by this one.
While she was singing alone, she seems good... and she's very easy to look at too...
But in the duet in Act III, Sull'aria, Anna and Dorothea Röschmann sing together, and what a contrast! Dorothea completely overpowered Anna, it was ridiculous! Anna can sing, no doubt, but she does not have nearly as beautiful voice as Dorothea... not even close! Anna's singing is more like that of a digital piano, vs. Dorothea more like a Steinway? Yes, it's about so called tonal complexity.... And her voice is not changed or anything in this particular duet... It was the same voice I heard in La Traviata.
Or maybe it's just me... she just don't have my type of voice I guess....
Anyway, all other male singer's aria isn't good at all as well, tempos are not necessarily all slow either, but they are just not good... I don't think I will watch and listen to this Blu Ray again, but this is a very clever staging, and something fresh too, so it was well worth watching once. Anna Netrebko is really beautiful here too, a very believable Susanna.
with Netrebko (a simply magnificent Susanna), Roschmann (a fascinatingly deeper and more powerful Countess than her fine work under McVicar/Pappano released in 2008), Schafer (a glorious voiced awkward Cherubino), McLaughlin (a stunningly sung Marcellina) and Liebau (a beautifully voiced Barbarina) rivaling the excellently voiced men (including a much unfairly maligned Bo Skovhus as a Count whose aristocratic sense of guilty entitlement is excellently portrayed vocally despite the cumbersome over-use of his white handkerchief, and an excellent Basilio from Patrick Henckens)
and with sumptuous orchestral work throughout from Harnoncourt and the Wiener Philharmoniker beautifully recorded
and with excellent camera work from video director Brian Large
this is a performance very much for this age
however, the fourth act is problematical: with the gender tensions and eroticism already deeply explored in the first three acts the notoriously difficult to stage fourth act can only offer more of the same - especially with the action supposedly taking place in the park still confined to the house: moreover, and unfortunately, the directorial conceit of the added Cherub becomes here a downright nuisance drawing attention away from the characters the singers have superbly created by their acting as well as their magnificent voices, as does the totally unnecessary 'show and tell' staging of the temptations for men and women which interfere with the excellently sung fourth act arias from Marcellina and Basilio
despite this qualification this Nozze will take pride of place in my collection, even though I might be tempted to only listen to most of the fourth act instead of watching (thank goodness for the lack of interference with Babarina's opening Cavatina and Susanna/Netrebko's beautifully sung 'Giunse alfin il momento')