May 7, 2017 Natalie dessay hamlet metropolitan 0
TV Director Brian Large's skillful orchestration of the close-up camerawork kept Keenlyside's facial expressions at the center of attention for much of the production, and adorned Petersen's every movement during the Mad Scene (even the gratuitous carving of her breast and wrists).
In a nice touch visible perhaps only to the HD Simulcast audiences around the world, the cameras captured (with the help of Lighting Director Christophe Forey) the spooky image of the little hairs standing on-end alongside Pittsinger's right arm as the Ghost clutched Hamlet's neck and commanded him to "Kill Claudius before he can repent." There was a serious omission, however, as the cameras failed to show one of the most dramatic moments in the opera: Hamlet's snatching of the crown from Claudius' head ("Down with the lying mask! Down with the empty crown!").
Conductor Louis Langrée crafted a faithful interpretation of Thomas' score that honored the composer's wishes to keep the orchestra parked behind the singers, and his direction of the opening instrumental prelude crafted a dramatically potent foreshadowing of Hamlet's torment that was to come.
Thomas saved some of his best writing for the instrumental preludes and entr'actes that precede each of the five acts, and the Metropolitan Opera Orchestra (after some initial intonation problems between the high and low brass sections during the first-act Prelude) was outstanding during throughout the performance. The trombone section tutti unison passage that opens the third-act Entr'acte was exquisitely played, as were several individual efforts — such as the exquisite clarinet solo that opens the fourth-act, the smooth tenor trombone solo during the first-act Scene at the Ramparts, and the alto saxophone solo that signals the beginning of the Pantomime in Act 2.
A well-prepared and buoyant Metropolitan Opera Chorus sang its four-part harmony in celebration of Claudius' marriage to the Queen (Le deuil fait aux chants joyeux) with assurance and poise and good balance among vocal parts, and successfully navigated the tricky a cappella section in the Banquet Scene.
Natalie dessay hamlet metropolitan - KTWO
For the first time in 113 years, the Metropolitan Opera is Hamlet - Mad scene - 2/2 - English Subs - Natalie Dessay - YouTube Jan 17, 2009 Hamlet - Mad scene - 2/2 - English Subs - Natalie Dessay.
If you're curious as to why it has taken the Metropolitan Opera 113 years to re-stage Ambroise Thomas' Hamlet, you'll need to look no further than the music.
Certainly, the mostly-attractive (if not lengthy) musical score has its moments. The love duet between Hamlet and Ophelia, the remarkable septet at the end of the second act and the celebrated coloratura passages in the famous "Mad Scene" can hold its own with the best that Verdi has to offer — as can Thomas' handsomely orchestrated preludes and entr'acts. It's just that there aren't enough such "moments" to sustain the level of intensity that pervades the drama. Over the course of this three-hour and 20-minute opera, Thomas' musical score earns its 15 minutes of fame, but little more. Do the math...