What opera have you been watching lately?

[Ann Lander (sospiro)]

As I recall from my research, there is an article online that says in this DVD when Leonore reveals that she is a woman, she exposes a breast. Presumably she did not think just the long hair and her saying so would convince? Since I have not seen this one, you can let me know if that is the case.

Yep. The flashes her boob!

[Florestan]

Yep. The flashes her boob!

All I can say is that Ludwig would not be pleased. Tell me, how is the production overall? That is one set I have never seen.

[Ann Lander (sospiro)]

All I can say is that Ludwig would not be pleased. Tell me, how is the production overall? That is one set I have never seen.

Well it's not gratuitous and she's still in her Fidelio disguise and about to be stabbed by Pizarro so probably quicker than untying her hair!

I'm not an expert on Fidelio so please don't take too much notice of my opinion but I like it. Rocco is brilliant and all the others are good too. Pizarro is sung well; it's the portrayal which is dodgy.

Clip here

[Luiz Gazzola (Almaviva)]

Ludwig wouldn't but Luiz would.

[Ann Lander (sospiro)]

Ludwig wouldn't but Luiz would.

Really? You do surprise me!

[Luiz Gazzola (Almaviva)]

Really? You do surprise me!

Just for, er, cough cough, artistic reasons, would you please post the specific YouTube segment where Leonora very justifiably makes use of this heroic gesture to avoid being stabbed?

[Ann Lander (sospiro)]

Just for, er, cough cough, artistic reasons, would you please post the specific YouTube segment where Leonora very justifiably makes use of this heroic gesture to avoid being stabbed?

You're out of luck, I'm afraid. That's the only clip of that production I can find. You'll just have to buy the Blu-ray!

[Nemorino]

Well, I just want to say that nudity - full frontal much less a single breast - is not as taboo or shocking to the Germans as it is generally in the US/UK. So... I definitely don't think that was the intention here.

(Why do you think they have regie theatre? You have to really try hard to scandalize that crowd!

[Ann Lander (sospiro)]

I love both this Trovatore and the London version. I miss Hvorostovsky a lot, he was such a great Luna. (Why is Leonora dating the tenor again?)

You tell me!!

Same in Attila. What does Odabella see in that wimp Foresto when she could have Attila who's a badass bass.

A belated welcome to the forum, btw.

[Soave_Fanciulla]

You tell me!!

Same in Attila. What does Odabella see in that wimp Foresto when she could have Attila who's a proper guy and a bass.

Yes just go with the flow and the Conte di Luna (when sung by Dima) and Scarpia (when sung by Ruggero Raimondi)

[Nemorino]

I really enjoyed this. Tcherniakov Fan Club Membership, please.

- The intrusion of modern elements into the traditional setting of Act 1 is confusing at first, but the Personenregie is so good that you kind of roll with it. My take on it now is that it represents harsh realities intruding on the young couples' privileged fantasy world. So, this is one of those opera productions where you don't look for a literal cohesive meaning for every element, but take each scene separately. When you take everything in the moment like this, this production is just full of wonderful ideas. I was consistently surprised and delighted and entertained. Not bad for an opera with a silly plot which has historically been considered "boring".

- Instead of traditional ballet in Act 3, Tcherniakov gives us a masterclass in how to throw a party. Talent show, conga line, rollerblading, remote-controlled helicopters. I'm a loner who hates parties, but I desperately want to go to a party like this!

- Act 4, Tcherniakov puts several instrument soloists on stage as if they're playing to appease the imprisoned Lyudmila. I have no idea if that's in the libretto or not, but the way she interacts with the violinist is just brilliant. There's so many things in this production that I have to believe are not in the libretto, but that feel totally appropriate with the music.

- I also wonder if he cut out a bunch of recitative, because if not this is a weird, weird opera with a lot of burden on stage action to explain what's going on.

- Good performances too. Vladimir Jurowski is one of my favorite conductors. Mikhail Petrenko gives a great, committed performance, but then Charles Workman steals every scene he's in with his unique, delicate tenor. Alex Penda is also a scene-stealer. She has such power and range, my first thought was "I bet she sings Salome by now, and I want to hear that."

[Luiz Gazzola (Almaviva)]

I think Tcherniakov is one of the best stage directors, nowadays. Intelligent Regie! I haven't seen this one, but other productions directed by him are sensational.

[Soave_Fanciulla]

t then Charles Workman steals every scene he's in with his unique, delicate tenor.

I love this man. Definitely underrated.

[MAuer]

Alex Penda is also a scene-stealer. She has such power and range, my first thought was "I bet she sings Salome by now, and I want to hear that."

Here's a promotional clip for a film called "Unveiling Salome" in which she sings the Princess.

[Florestan]