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Thread: Operas by Mozart on DVD, blu-ray, and CD

          
   
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  1. #121
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    Quote Originally Posted by sospiro View Post
    Has anyone got/heard either of these and if you have what do you think? The reviews on Amazon.com are very mixed.



    Le nozze di Figaro reviews



    Così fan tutte reviews

    The third part of this trilogy, Don Giovanni, is due out soon and I'd quite like to get it. The bass who sings 'Il commendatore' is Mika Kares who I saw live in Seattle singing Attila in an alternate cast. I'd gone to Seattle especially to see John Relyea sing the role but I'd also got a ticket for the alternate cast and I have to confess, I actually preferred Mika Kares' voice.



    Mika Kares



    A review of Currentzis' Mozart recordings from "The Guardian" popped up on Apple News this morning. I don't know the reviewer, who states up front that he has always loathed opera. But. But! Then he listened to the Currentzis Mozart operas and went nuts. Fascinating review. Oh, he also loves the new Don G. CD set as well, but you will need to read almost all the way thru to see what he says.

    I'm intrigued, but (of course) trust Festat way more than this guy. See what you think.

    https://www.theguardian.com/music/20..._b-aplnews_d-1

  2. #122
    Opera Lively Moderator Top Contributor Member Festat's Avatar
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    I kinda understand how somebody who doesn't like opera could like those. It doesn't feel entirely opera-like. It constantly reminds you that it is a studio recording. Singing is generally very... intimate? Hushed perhaps. Singers occasionally will go into a quasi-whisper. The orchestra is indeed phenomenal but it is probably also the most closely miked in the recordings business. Music seems to come from a virtual vacuum and to be directly injected into your head without an intermediary. You can tell Currentzis isn't in the least interested in Così as theatrical piece in, he almost says so in the booklet — which is almost entirely dedicated to himself and how grateful we must be that he is saving Mozart from mediocrity.

    But I maintain my recommendation for Annie: go for it! I will definitely buy Don Giovanni too when it's out because I'm that guy... We can exchange impressions then!

  3. #123
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Quote Originally Posted by Hoffmann View Post
    A review of Currentzis' Mozart recordings from "The Guardian" popped up on Apple News this morning. I don't know the reviewer, who states up front that he has always loathed opera. But. But! Then he listened to the Currentzis Mozart operas and went nuts. Fascinating review. Oh, he also loves the new Don G. CD set as well, but you will need to read almost all the way thru to see what he says.

    I'm intrigued, but (of course) trust Festat way more than this guy. See what you think.

    https://www.theguardian.com/music/20..._b-aplnews_d-1
    Quote Originally Posted by Festat View Post
    I kinda understand how somebody who doesn't like opera could like those. It doesn't feel entirely opera-like. It constantly reminds you that it is a studio recording. Singing is generally very... intimate? Hushed perhaps. Singers occasionally will go into a quasi-whisper. The orchestra is indeed phenomenal but it is probably also the most closely miked in the recordings business. Music seems to come from a virtual vacuum and to be directly injected into your head without an intermediary. You can tell Currentzis isn't in the least interested in Così as theatrical piece in, he almost says so in the booklet — which is almost entirely dedicated to himself and how grateful we must be that he is saving Mozart from mediocrity.

    But I maintain my recommendation for Annie: go for it! I will definitely buy Don Giovanni too when it's out because I'm that guy... We can exchange impressions then!


    Thanks guys! It's on my list.
    " … if you are interested in something, no matter what it is, go at it at full speed ahead. Embrace it with both arms, hug it, love it, and above all become passionate about it."
    Roald Dahl

  4. #124
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    Ok. Festat, now I'm really interested to hear what all those effects (affectations?) sound like. After you have listened to the Don G., please report back with your assessment of which of the three sets is most worthwhile. That can be the best of the three or the most exaggerated of the three - your choice.

  5. #125
    Junior Member Newcomer
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    Have you seen Mozart: The Magic Flute (Metropolitan Opera)? Probably yes, so I would like to apolgize for reapiting. It's absolutety adorable!
    To want to, is to be able to.
    stora äventyret

  6. #126
    Opera Lively Moderator Top Contributor Member Amfortas's Avatar
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    Quote Originally Posted by malka View Post
    Have you seen Mozart: The Magic Flute (Metropolitan Opera)? Probably yes, so I would like to apolgize for reapiting. It's absolutety adorable!
    Yes, it's a fun production; I've got the DVD.

    Welcome to the forum, malka!

  7. #127
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Così fan tutte on DVD



    Così fan tutte, ossia La scuola degli amanti, dramma giocoso in two acts (K.588), sung in Italian
    Music by Wolfgang Amadeus Mozart
    Libretto by Lorenzo da Ponte (not based on any known source; probably da Ponte's own creation)
    Premiered at the Burgtheater in Vienna on 26 January 1790

    Recorded live at Het Muziektheater, Amsterdam, December 2006

    Netherlands Chamber Orchestra
    Chorus of De Nederlandse Opera

    Conducted by Ingo Metzmacher
    Stage directors Jossi Wieler and Sergio Morabito
    Set designer Barbara Ehnes
    Costume designer Anja Rabes
    Lighting designer David Finn
    Video director Misjel Vermeiren

    A co-production of De Nederlandse Opera and NPS in association with Opus Arte, released on DVD by Opus Arte and Kultur, in 2008

    Cast

    Fiordiligi - Sally Matthews
    Dorabella - Maite Beaumont
    Guglielmo - Opera Lively interviewee Luca Pisaroni
    Ferrando - Norman Shankle
    Despina - Opera Lively interviewee Danielle de Niese
    Don Alfonso - Garry Magee

    Two DVDs, one for each act, NTSC standard definition, all regions, running time 209 minutes, 16:9 anamorphic, sound LPCM Stereo or DTS 5.1, subtitles in English only. The insert only contains a synopsis, a list of musical numbers with characters and duration, and two color production pictures. The back cover has four additional thumbnail pictures. The package could benefit from more subtitle languages, and a more substantial insert with essays. Sound capture is not great and the analog image is only correct.

    -------

    This is one of my favorite operas, and it is always a pleasure to see it staged and sung competently. This is a rather almost flawless production with a luxury cast and imaginative sets. The action is updated to a youth hostel on the beach in the 1960's, with a revolving set that includes the lobby, the cafeteria, and the girls' bedroom, surrounded by sand. Costumes are intentionally tacky and acting is presumably also intentionally over-the-top with a lot of over-acting done on purpose, with some pretty hilarious facial expressions. In spite of all the exaggeration, the acting is actually rather convincing as all six singers look their parts and do an excellent characterization.

    While Luca Pisaroni, a veteran of this role, is excellent as usual, and his two male companions are no slouches (Norman Shankle is excellent too; Garry Magee only a bit less good), the show belongs to the three girls who are out of this world in their acting and singing.

    Così fan tutte is lucky to be represented on video by many outstanding productions, beginning with the standard-setting Glyndebourne show, a fan favorite, including the great Salzburg festival production, and more recently, not on DVD or blu-ray but shown worldwide on TV and online streaming, the phenomenally impressive Aix-en-Provence rendition, arguably the best ever in the modern era.

    So, it's hard for still another one to compete. But this one does. And it does, not only thanks to the very precisely calculated staging that in all moments brings a smile to the spectator's face (for example, the costumes are great, moving the nerdy boys of the first scene to a look that is actually very different, so it seems less absurd that they are not recognized), but to truly outstanding singing by these three excellent artists, Sally Matthews, Maite Beaumont, and Danielle de Niese. It is quite interesting to see them sing very proficiently all the beautiful Mozart arias, duets, and ensembles, while engaging in rather crazy acting. It must be hard to keep the focus on the phenomenal singing while taking care of all the facial expressions and funny interactions between the characters, without breaking down laughing.

    Showstoppers: Norman Shankle does a memorable job with "Ah, lo veggio: quell'anima bella" just to be matched right after by Sally Matthews in "Per pietà, ben mio, perdona" - this sequence is arguably the best one in this performance.





    This DVD is very entertaining. I do prefer the Aix dark and somber approach, since this opera is more dramma than giocoso, but if you like a funny Così, this one is it - at least in the lighter/funnier first act (the second act does darken a little since the opera also does).

    YouTube does have some clips from this performance; in addition to the two above, I posted three more earlier inside the Singers-Oriented thread I started for the fabulous Sally Matthews. Click [here] to get to them. This one shows the revolving set and Norman and Luca singing a duet (the latter looks hilariously a bit like Elvis Presley):



    As for a review score, the orchestra is not outstanding. It actually takes quite a second role to the singers, which is good in one sense (it never smothers them), but I'd call this interpretation of the score rather conventional and nothing to write home about. They don't make mistakes, but don't shine (the chorus, though, is good). Like I said, Garry Magee is not as good as the other five singers (but he doesn't sink the ship either). The DVD is technically limited (so-so sound and image) and the package is poor (bare-bones insert).

    Still, with all the qualities of this show, I will only deduct one + sign from the overall score, more for the technical glitches than the singing/acting ones, and I'll give this product an A+, and call it highly recommended.

    Maite and Sally as Dorabella and Fiordiligi for De Nederlandse Opera
    Last edited by Luiz Gazzola (Almaviva); December 28th, 2017 at 12:48 AM.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  8. #128
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    One thing I don't understand is why Sally Matthews is not as famous as some of the other sopranos in activity, at least here in America (maybe in Europe she has a bigger following). She is as good as it gets. Incredibly good acting (it is very rare to see such a phenomenal actress on the operatic stage; we only see this perfection in the likes of Natalie Dessay), beautiful voice timbre, impeccable technique with not a single vocal defect to be spotted (what a voice!), excellent musicality, and she looks very good too. What's not to like?



    She came to America recently in a very small role in The Exterminating Angel (did very well as usual). One would like to see her over here, this side of the pond, performing a long leading role. American opera companies, please wake up to this outstanding artist!

    Maite Beaumont's mezzo instrument is also as good as the ones owned by our best mezzos in activity.

    Danielle in this production had one of her best singing performances of her entire career, I think. She looked great as usual; what a charming artist, and her acting is top-notch too!

    A Così with these three is pure pleasure. I'd kill to score a ticket to see it in person.

    Not to forget that Luca and Norman also dazzled. This was one of the best sung Cosìs I've ever heard.
    Last edited by Luiz Gazzola (Almaviva); December 28th, 2017 at 12:18 AM.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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  10. #129
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Die Entführung aus dem Serail on blu-ray disc



    Die Entführung aus dem Serail, Singspiel in three acts, sung in German
    Music by Wolfgang Amadeus Mozart (1756-1791)
    Libretto by Christoph Friedrich Bretzner adapted by Gottlieb Sephanie the Younger
    Premiered in Vienna, Austria, at the Burgtheater, 1782 (Commissioned by Emperor Joseph II)

    This is a review of the Glyndebourne new McVicar production of the opera, recorded live on 19 July 2015 and released on blu-ray disc by Opus Arte and François Roussillon et Associés (FRA Musica). It's a co-production of Glyndebourne, FRA Musica, and ZDF in collaboration with ARTE and the participation of NRK and Mezzo.

    It uses the new critical edition of the score by Gerhard Croll (Neue-Mozart Ausgabe).

    The Orchestra of the Age of Enlightenment conducted by Robin Ticciati
    The Glyndebourne Chorus, master Jeremy Bines
    Film Director - Opera Lively interviewee François Roussillon

    Stage director David McVicar
    Set and costume designer Vicki Mortimer
    Lighting designer Paule Constable
    Choreographer Andrew George

    Cast

    Konstanze - Sally Matthews
    Belmonte - Edgaras Montvidas
    Osmin - Tobias Kehrer
    Blonde - Mari Eriksmoen
    Pedrillo - Brenden Gunnell
    Pasha Selim, non-singing role, actor Franck Saurel
    Klaas - non-singing role, actor Jonas Cradock

    Blu-ray disc released on 24 June 2016. All regions. Subtitles in English, French, German, Japanese, and Korean. Audio LPCM 24-bit 2.0, or DTS-HD MA 5.1. Image 16:9, 1080p. Running time 168 minutes (opera) + 12 minutes (Bonus: "Concept, craft, and Collaboration - the Visual Story" + cast gallery). The booklet contains four color production pictures, credits, an excellent 4-page interview with Set and Costume Designer Vicki Mortimer, a 2-page essay on the opera by dramaturg Cori Ellison, and a 2-page synopsis, all repeated in English, French, and German. Unfortunately, no track list with musical numbers, characters, and duration.

    ----------------

    I'm watching this as I can, in small stretches each time, since I have guests for a New Years Eve brunch that will start in half an hour. So far I've only watched until the 26 minutes mark. I did read the entire booklet and watched the bonus feature, and it was all very interesting. David McVicar and Vicki Mortimer explained in detail their take. Basically they tried to be as faithful to the original as possible (and it helps that the OAE is a highly competent period ensemble). See, this is a Singspiel, and modernly these pieces get staged as an opera, with profound cuts to the spoken dialogue, which is abridged, rewritten, or plain absent. Glyndebourne decided to include 90% of the original dialogue, including, the revelation that the Pasha is actually a Spaniard who converted to Islam, which no other production ever mentions, and does have a psychological impact on the plot. Mortimer said her sets are ultra-realistic, including, she traveled to Istanbul and took hundreds of pictures to be sure to reproduce an 18th century Turkey that would be faithful to how things actually looked (including the costumes). The result is visually appealing, except for the sea outside which when the camera looks at it closer, appears fake. They should have made it shimmer and move with waves, which is possible and has been done in other productions. I mean, it wouldn't have been necessary in other productions. But if you really want to be as realistic as possible, having that immobile ocean outside kind of ruins the effect.

    I'm totally in awe of Sally Matthews which is why I've been buying and reviewing all her DVDs. She is truly extraordinary with fabulous voice, great technique, excellent acting skills, and very pretty looks. She just made her first entrance, at the 30-minute mark.

    Like Amazon reviewers said, this is a cast with no vocal weak link whatsoever. All roles are staffed by excellent singers, and the conductor and the orchestra are both top-notch. So musically this product is near perfection.

    I have never seen, on DVD, video file, or in person, a The Abduction from the Serail that I liked. You can see my review of the pale and bland Met version (in spite of nice sets) in the live show review thread.

    So under the advice of our Baroque expert Natalie, I got this one, and so far I like it. We'll see. I'll continue later.

    Sally has just sung her first and very exposed aria with high coloratura. She didn't do it that well, surprisingly, but this is not unusual in live productions: singers start cold, especially when their first number is demanding with many high notes, given that in spite of backstage exercises, the voice only warms up completely as the real on-stage performance goes on. So I'll give her the benefit of the doubt here. She will probably improve later.

    -----------

    OK, continuing this review. I am a bit disappointed with one aspect of this show. Maybe I'm disappointed in myself. I thought I'd greatly enjoy the fact that this production uses almost the entire original spoken dialogue. I was thinking, "great, finally a production that treats the audience like adults with appropriate attention span and doesn't cut corners, assumed that we are all dumb and can't take the full thing."

    Well actually... maybe we can't (or at least I can't). It drags on and on. The dialogues are just too long with the musical parts appearing to be far and in-between. Apparently this is what Singspiel is supposed to be: essentially, a stage play with some incidental music, and traditionally, to please the opera audiences, they've been staged outside of Germany/Austria like an opera, with abridged dialogues so that the music is more constant.

    It's not that I don't have sufficient attention span. It's rather because I prefer the operatic art form to the spoken theater art form. This endless spoken dialogue is boring me. If I want to see a stage play, I go to a stage play (which I don't do that often, but when I'm in that kind of spirit, if it's a good one, I'll enjoy it). But when I want to see an opera... I do expect more constant music.

    So, yes, all characters are manned by excellent singers (those who do sing; of course we do have two non-singing characters). But all this yapping yapping is frankly tiresome.

    And then, this is a rather light work with some comedic parts and this production chose to make it all more frightening with Osmin being more terrifying, and unfortunately the result is... that it isn't that funny. On top of this, Tobias Kehrer sings well but I don't find him to be a terrific actor. His Osmin ended up being kind of annoying. And then, the famous low Ds in his third act aria weren't that well delivered. He lost volume to a point that we could barely hear him.

    Even Sally didn't show a lot of acting range like she did in the Così I just reviewed. She just looked scared most of the time. And then, the costumers and hairdos weren't flattering for her. She looked less pretty than in other productions.

    The more frightening concept did produce a remarkable scene, in the Pasha's bedroom, when he almost rapes Konstanze but at the last moment is able to refrain from it. It was a very well-acted scene by both artists, and very well sung by Sally.

    Our Pasha is a very good actor and remarkably looks the part. The sets are indeed very realistic. But diluting Mozart's music in a sea of spoken dialogue, even thought this is how Mozart originally did it, didn't really work for me that well. I kept having the paradoxical impression that this was a stage play adaptation of an opera... I know it isn't... I know it's been done the way the original creators intended... but... maybe I do like it better when they make Singspiel pieces feel and sound more like operas.

    Ultimately, I won't say it's not recommended. It's very well done, musically sound, and visually appealing. But it's just not for me. This is not a show I'll be watching again.

    So, what I initially said - that "I have never seen, on DVD, video file, or in person, a The Abduction from the Serail that I liked" - remains true, unfortunately.
    Last edited by Luiz Gazzola (Almaviva); January 5th, 2018 at 01:21 AM.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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  12. #130
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Le Nozze di Figaro on blu-ray disc



    Le Nozze di Figaro (K492), opera buffa in four acts, sung in Italian
    Music by Wolfgang Amadeus Mozart
    Libretto by Lorenzo da Ponte after the stage play by Pierre Beaumarchais, La Folle Journée, ou Le Mariage de Figaro (1784)
    Premiered at the Burgtheater in Vienna on May 1st, 1786

    A production of Glyndebourne, in co-production with Houston Grand Opera and the Metropolitan Opera, premiered on 27 June 27, 2012, released on blu-ray disc (also available on DVD) by Opus Arte, filmed live in August 2012 at the Glyndebourne Opera House, Lewes, East Sussex, UK, by FRA Musica (François Roussillon et Associés, with Mezzo, TF1, and CNC.

    The Orchestra of the Age of Enlightenment conducted by Robin Ticciati
    The Glyndebourne Chorus, chorus master Jeremy Bines

    Stage Director Michael Grandage
    Designer Christopher Oram
    Lighting Paule Constable
    Movement Director Ben Wright
    Film Director - Opera Lively interviewee François Roussillon

    Cast

    Countess Almaviva - Sally Matthews
    Figaro - Vito Priante
    Count Almaviva - Audun Iversen
    Susanna - Lydia Teuscher
    Cherubino - Opera Lively interviewee Isabel Leonard
    Marcellina - Ann Murray
    Bartolo - Andrew Shore
    Barbarina - Sarah Shafer
    Don Curzio - Colin Judson
    Don Basilio - Alan Oke
    Antonio - Nicholas Folwell
    Bridesmaids - Ellie Laugharne, Katie Bray

    -------------

    Continuing my attempt to acquire all video recordings featuring the phenomenal Sally Matthews, I got this, and didn't regret it. While I wasn't highly impressed with the Serail I just reviewed above, here Sally is as good or better as in Deidamia (see my review in the Handel thread) and Così (reviewed above as well). She looks very pretty, sings divinely, and acts the role with perfection.

    In her acting she is matched by every single artist in this production, possibly the best acted Nozze I've ever seen. For this alone, this product is highly recommended, but it has many other qualities.

    Glyndebourne did it again, with a near-perfect show. The physical production is very beautiful and realistic, depicting a Spanish mansion to perfection, together with nice lighting and beautiful props, including a vintage sports car (the setting is updated to the sixties, which is very well done in terms of costumes and wigs). Blocking is very good. All elements of the physical production earn the maximum score of A++.

    The three female principals are all three very attractive. I don't know why they picked this cover picture, it definitely doesn't do justice to Lydia Teuscher's beauty; she looks ten times better than that.

    We get the excellent OAE delicately playing the score like only a HIP ensemble can do, so that the singers are given all the aural landscape they need to shine without being smothered by the loudness of modern orchestras. This said, this was not the best orchestral and conducting performance I've heard for Nozze, even though it was pretty good. I grant it a sub-maximum score, A+. This as we know is not a chorus-rich opera, but when called upon, the Glyndebourne Chorus did reasonably well. A.

    Now, the singing was superb. As much as he is a simply spectacular actor, Vito Priante's singing was a notch below his colleagues', with a less than ideal rendition of "Non più andrai" - his voice is beautiful and potent, but his phrasing tends to be a bit abrupt, and in parts, I missed Bryn Terfel, maybe my favorite Figaro. Still, he was still rather good overall. A.

    The other principal singers, though, all get an A++. Sally Matthews, oh my God! I was mesmerized each time she was singing. Isabel was formidable, and portrayed the teenage boy to perfection in her very convincing body movements. Our Rosina was charming and funny, and with a voice to die for. Our Count Almaviva was one of the best I've ever seen. Their acting was homogeneously excellent as well - not only very natural but pretty darn funny! Comprimarios were of a very high level.

    Overall this is a remarkable performance of one of the best operas in the repertory; a pleasure from beginning to end, and one of the best blu-rays I've seen. Highly recommended, A++ maximum score.

    One word of caution: don't judge it prematurely because it starts a bit cold (as it happens to many other productions; singers need some time to warm up) but it gets better and better as time goes by, and the last act is a thing of beauty, musically, with all singers and the orchestra performing at top notch quality.

    Regardless of how many Nozzes one has in his/her collection, this one is a mandatory purchase.

    ----------

    1080i HD blu-ray disc, NTSC, 16:9, all regions, LPCM stereo 24 bit, DTS HD Master Audio 5.1 (excellent sound and image), subtitles in English, French, German, Japanese, and Korean (one regrets the lack of Italian), running time 154 minutes (opera) + 22 minutes bonus (2 short documentaries, a cast gallery, incorrectly listed on the cover as 14 minutes which is just the first one), the booklet contains credits, no track list (regrettable), a rather useless 2-page essay (focusing more on the performance history of the piece at Glyndebourne than on this production itself), a synopsis, repeated in English, French, and German, and 4 color production pictures. The lack of substance in the booklet essay is compensated by the bonus features that do provide insight into the building of the gorgeous sets and the stage direction, also featuring mini-interviews with the singers. The second documentary is about the music of the opera and it is also very good.
    Last edited by Luiz Gazzola (Almaviva); January 11th, 2018 at 05:45 AM.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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