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| imagen del vídeo
Intrigante la foto de Rolando Villazón que abre el post ¿verdad? Pertenece al vídeo de promoción del programa Verstehen Sie Spaß, un programa de entretenimiento con "camara oculta" / "candid camera", que se emitirá el próximo día 22 en el canal alemán SWR. Se podrá ver tambien en livestream por internet, pero no es seguro sea visible desde todos los paises. En todo caso, procuraré tener el video a vuestra disposición lo más pronto posible.
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17 juin 2013
VÍDEO ROLANDO VILLAZÓN, CÁMARA OCULTA (VERSTEHEN SIE SPAß)
VIDEO ROLANDO VILLAZÓN Y NINA EICHINGER EN LA AIDA DE LA ARENA DE VERONA
Aquí tenéis un vídeo de la presentación de Rolando Villazón y Nina Eichinger de la Aida que se estrenó el 14 de junio en la Arena de Verona. Esta producción de La Fura dels Baus se ha emitido por ZDF la noche del 16.
Pensé que en la Mediathek de ZDF encontraria al dia siguiente la versión entera de la emisión, pero la presentación de Rolando y Nina ha sido cortada, se puede ver sólo la ópera, por lo cual el vídeo está hecho con mis imágenes provisionales de livestream, y tiene poca calidad. Se puede ver la presentación inicial y la intervención de los dos en el entreacto.
Pensé que en la Mediathek de ZDF encontraria al dia siguiente la versión entera de la emisión, pero la presentación de Rolando y Nina ha sido cortada, se puede ver sólo la ópera, por lo cual el vídeo está hecho con mis imágenes provisionales de livestream, y tiene poca calidad. Se puede ver la presentación inicial y la intervención de los dos en el entreacto.
Ver Aida en Mediathek ZDF: http://www.zdf.de/ZDFmediathek#/beitrag/video/1919872/Aida%22
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| foto: Facebook Nina Eichinger |
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| foto: Facebook Nina Eichinger |
16 juin 2013
ROLANDO VILLAZÓN, CONCIERTO VERDI EN STUTTGART (15/06/13)
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| foto: Anne |
Después del concierto de la gira Verdi de Rolando Villazón, del 12 de junio en Amsterdam, donde el tenor cantó convaleciente de un resfriado, el que se celebró ayer noche en Stuttgart ha sido calificado, por Jacqueline E., que ha asistido a varios de ellos, como el mejor de la gira. Rolando ya no mostraba ningún signo de ronquera y el público se entusiasmo en alto grado en muchas de las partes del concierto, con grandes bravos al final, mucho más de lo que se prodiga habitualmente en aquellas latitudes.
La anécdota de la noche se dio en el primer bis, con la canción Il poveretto. Rolando invitó a un niño asistente a subir con él al escenario, para ser su "marioneta". Rolando iba moviendo sus brazos y, al final, el niño, Erik, tímido pero valiente y decidido, imitaba los gestos de Rolando, que estaba pendiente de él de una manera muy protectora y cariñosa. Una escena muy tierna, que hizo las delicias de los asistentes. En la firma final, Rolando le dedicó un dibujo muy especial, firmado "in situ" en la misma camisa. Por respeto a Erik y su familia, y porque desconozco su voluntad al respecto, en las fotos veréis el rostro del niño pixelado. Si a la familia les interesan las fotos originales, y un vídeo de "Il poveretto" que no publico porque no se puede pixelar facilmente, que se pongan en contacto con el Blog porque los autores no creo que tengan inconveniente en hacérselo llegar, como un bonito recuerdo de esos momentos.
Si que comparto, aquí en el Blog (no en Youtube) un vídeo del momento de la firma del "autógrafo", ya que el niño está de espaldas, y la toma es desde arriba. Si me llega más crónica o fotos, las añado a este mismo post.
Si que comparto, aquí en el Blog (no en Youtube) un vídeo del momento de la firma del "autógrafo", ya que el niño está de espaldas, y la toma es desde arriba. Si me llega más crónica o fotos, las añado a este mismo post.
video: Anne
fotos: Anne
14 juin 2013
FOTO DE ESTA MISMA NOCHE: ROLANDO EN LA ARENA DE VERONA
En el Twitter de @Auditorium_mag se acaba de publicar esta foto, de Rolando Villazón, hace pocos minutos, en la Arena de Verona, donde asiste, no sólo como espectador (ya se ve por el traje), al estreno de AIDA, con la nueva producción del grupo catalán La Fura dels Baus.
Podéis leer más sobre porqué está allí y qué tarea esta haciendo en el post del pasado día 9:
ROLANDO VILLAZÓN Y NINA EICHINGER, EN LA AIDA DE LA ARENA DE VERONA (ZDF)
ROLANDO VILLAZÓN, CONCIERTO VERDI EN AMSTERDAM (12/06/13)
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| foto: Willeke |
Esperaba alguna crónica más del concierto Verdi del 12, pero como no llega, pongo la de Mariù y las fotos de Willeke y Els, junto con otras encontradas en Facebook, de Lieneke Effern. Muchas gracias a todas ellas.
Amsterdam, 12 giugno - Concertgebouw
Una sala immensa, con balconi e scalinata gremiti di ammiratori più che entusiasti. Una delle sale più belle del mondo con un'acustica perfetta ! Ero cosi' felice vedere tanta gente presente per vedere e ascoltare Rolando. Ma prima dell'inizio del concerto appare il direttore del Teatro. Terrore, pensavamo che il concerto venisse cancellato. No, il direttore annunciava solo che Rolando era malato (non ha specificato cosa avesse) e che il programma sarebbe stato semplificato, più corto e che Rolando avrebbe cantato di meno. Un violoncello solista ha preso una volta il posto di Rolando con un brano di….Verdi !
Entra Rolando in scena, scendendo dalla altissima scalinata dietro al podio. Vedendolo apparire, mi sono venute le lacrime agli occhi, era come se entrasse un amico, un figlio e vedendo il pubblico applaudire con tanto entusiasmo mi sono sentita felicissima, perché era chiaro che il pubblico amava e ammirava Rolando. Prima di incominciare Rolando annucia lui stesso che é indisposto, che ha dovuto andare dal medico, per farsi curare con un trattamento speciale.
Dopo varie introduzioni orchestrali (tra l'altro naturalmente Nabucco), Rolando canta brani dalle opere Il Corsaro, Macbeth, romanze del ciclo de "Il Mistero". La voce era chiara e gli acuti (quei pochi che prendeva) erano abbastanza limpidi. Si azzardava poco nei registri alti e quelli bassi che prendeva, erano forse un po' troppo bassi per cui non si sentivano bene le parole. Qualche volta un po' di raucedine, fiato grosso e respiro un po' forte. Ma tutti questi mancamenti non mi hanno troppo disturbato, sapendo che non era in gran forma. Si perdona molto al cantante favorito.
Alla fine del concerto 2 bis; un pubblico più che entusiasta; non finiva di applaudire, fiori e regalini. Prima dell'ultimo bis Rolando entra in scena con un gran bicchiere di birra, riempito fino al bordo. Rolando canta un omaggio al vino e beve in un unico sorso tutta la birra. Risate e ancora applausi. Lo spettacolo ha durato due ore.
C'é stato anche un gradevole incontro con alcune Villazoniker e mariti e con le fan olandesi di Rolando, un'ora prima dello spettacolo, per cui avevamo tutto il tempo per far conoscenza e chiacchierare molto. Non mi sono fermata per la sessione dedica per mancanza di tempo né ho fatto le foto. Spero che qualcun' altro abbia avuto l'occasione.
Per concludere: é stato un evento magnifico e una serata piena di emozioni e entusiasmo. Ne sono rimasta molto soddisfatta!
Mariù
Mariù
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| foto: Willeke |
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| foto: Facebook Lieneke Effern |
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| foto: Facebook Lieneke Effern |
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| foto: Facebook Lieneke Effern |
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| foto: Facebook Lieneke Effern |
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| foto: Facebook Lieneke Effern |
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| foto: Els |
13 juin 2013
NUEVO ÁLBUM DE ANNA NETREBKO, CON UNA COLABORACIÓN DE ROLANDO VILLAZÓN
Anna Netrebko se une a los cantantes que presentan un nuevo ábum en conmemoración del Año Verdi (bicentenario de su nacimiento), después de Rolando Villazón (VILLAZÓN VERDI), Piotr Beczala (VERDI ARIAS) y Plácido Domingo (VERDI), con arias para barítono, que saldrá en setiembre.
En este caso, el título es....VERDI, aunque no debemos juzgar por su originalidad ni por su controvertida portada, que ha recibido muchos comentarios en las redes sociales desde que se ha hecho pública. El álbum contiene una novedad que hará las delicias de muchos: volver a oir juntas las voces de Anna Netrebko y Rolando Villazón, que tan exitosa colaboración tuvieron en el pasado.
El fragmento escogido, según se anuncia en la prensa, pertenece al último acto de Il trovatore, y Catherine aventura en su Facebook (creo que con muchas posibilidades de acertar) que tal vez sea el Miserere, cuando Manrico es hecho prisionero y Leonora escucha, a lo lejos, su voz.
NOTA añadida 15/06: Han aparecido ya los tracks del álbum
1 Macbeth, Act I: Scena e Cavatina "Nel dì della vittoria io le incontrai" 2:10
2 Macbeth, Act I: "Vieni t'affretta" 3:08
3 Macbeth, Act I: "Or tutti sorgete" 1:58
4 Macbeth, Act II: "La luce langue" 4:00
5 Macbeth, Act IV: Gran Scena del sonnambulisma: "Una macchia è qui tuttora" 9:57
6 Giovanna d'Arco, Act I: "Qui! Qui...dove più s'apre libero il cielo" 2:32
7 Giovanna d'Arco, Act I: "O fatidica foresta" 2:15
8 I vespri siciliani, Act IV: "Arrigo! Ah! parli a un core" 3:57
9 I vespri siciliani, Act V: "Mercè, dilette amiche" 4:01
10 Don Carlo, Act V: "Tu che le vanità" 10:22
11 Il Trovatore, Act IV: "Vanne ... lasciami" 2:23
12 Il Trovatore, Act IV: "D'amor sull'ali rosee" 3:40
13 Il Trovatore, Act IV: "Miserere ... Quel son, quelle preci" 4:34
14 Il Trovatore, Act IV: "Tu vedrai che amore" 2:12
15 Giovanna d'Arco: Overture 7:29
Aquí tenéis, con la misma Netrebko, un video de la escena de Leonora en el Act. IV, donde, en el minuto 8:58 hace su intervención el tenor, en este caso Jonas Kaufmann.
Volviendo a la portada, en el Facebook de La Cieca podéis ver toda una serie de adaptaciones, con el título de "The Annas":
https://www.facebook.com/media/set/?set=a.10151486423808295.1073741825.595313294&type=1
Os dejo una muestra de las imágenes, que supongo que próximamente también se podrán ver en su blog
12 juin 2013
ROLANDO VILLAZÓN, FRONT ROW - BBC RADIO 4
Broadcast on
BBC Radio 4, 7:15PM Tue, 11 Jun 2013
Mexican tenor Rolando Villazón discusses his love of Verdi's music, 200 years after the composer's birth. He explains when he first encountered it and the effect it had on him, the differences between singing on stage and in a recording studio - and why opera singers should try to stay as fit as athletes.
10 juin 2013
EL ELISIR DE JOANNA
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| foto: Facebook Ambrogio Maestri |
Ever since the moment that it was announced
on the blog that Rolando would return to Barcelona to reprise his role as
Nemorino, I determined that somehow, someway, I was going. Clearly the stars
had aligned: Barcelona, the villazonistas, dear Teresa, the Liceu, L’elisir d’amore, and Rolando in one of
his signature roles. This was not to be missed! Yes, this meant coming four
thousand miles for two performances lasting a few hours, shedding serious
doubts on the sanity of an otherwise fairly rational human being. Fortunately,
I didn’t have to rob a bank to do this, although a few years in jail would have
been well worth the price of this trip.
The pleasures of this experience were countless,
but amongst the most memorable were being able to meet so many villazonistas in
person. Somehow, upon meeting, we began talking in mid sentence as though we
had known each other for years. Meeting Teresa was very special to me. I could
write a separate essay about that, but perhaps another time and in another
context. (I can’t help smiling as I write this, dear Teresa!) So here we were,
coming from near and far, for Rolando. For
Rolando!
I had first come to know Rolando from the
Vienna recording of L’elisir d’amore,
so this opera has always been particularly dear to me. Then followed the
Barcelona recording and those iconic performances. Teresa pointed out in the
post following the premier that the expectations for Rolando were huge. It
crossed my mind that Rolando must be a masochist: who in his right mind would
take on this risky business? I knew these performances would not be a repeat of
those of 2005, but who would this Nemorino be?
First the premier. It was a given that this
night would be staggering for me, so I entered el Gran Teatre del Liceu, found
my seat, then stopped to take in the grandeur of the Teatre. What a difference
from the massive and overwhelming cavern that is the Metropolitan Opera! The
Liceu, for all of its magnificence, seemed friendlier and warmer, sized for
human beings, not giants.
I waited…and waited…for what seemed an
eternity.
Then the lights dimmed and the “birds”
began to sing. There is Nemorino at the window, soon making his way down the
stairs. The first thing that strikes me is Rolando’s movement on the stage. Athletic,
graceful, agile, fluid. He “works” the stage with such ease, and no movement is
wasted. Everything is there for a reason, and it contributes to the character. On a DVD, you cannot appreciate the extent of
his command of the stage because the camera is not always on him. But now you can
see the range of what he does. Then comes “Quanto è bella, quanto è cara.” There
is that voice that you can pick out of a thousand with ease! Right there, live,
in front of me. We have all attempted in vain to describe that voice to no
avail, so I won’t even bother to attempt it here. Well, you’ll permit me one
more analogy, then I promise I’ll stop that futile business: a warm blanket on
a cold night. Ah! There. No more.
I’ve always thought that there are two
critical attributes to a great Nemorino: he must be both adorable and poignant.
From the very first moments, Rolando is working his magic, drawing the audience
in, compelling us to adore Nemorino whether we want to or not. A large part of
this is irresistible charm and pure physical comedy, manifested at every turn. You
can’t take your eyes off of him, or you will miss a gesture, a detail, a look
that is like no other.
Rolando’s flair for physical comedy is
dazzling. The stairs on both sides of the stage are one of Rolando’s main props
for gags. Whether he’s bouncing down the stairs on his posterior or ascending,
taking a sharp turn on the landing, or hanging precariously on the railing
(gasp!), he’s taking every advantage of whatever is on stage. One of the new gags
occurs when Nemorino is attempting to eavesdrop on the conversation between
Adina and Belcore as they plan their wedding. So as not to be seen, he slides
down the steps on his stomach head first.
Really? Yes, head first! I shake my head: only Rolando. Genius. Brilliant. Dangerous.
The stunts of Harold Lloyd come to mind.
As the first act progresses, you grasp the
heart of the matter: Rolando makes you care
about Nemorino. You feel for
Nemorino. What happens to him matters to you. Is the audience irresistibly
drawn in? You find the answer in the scene in which the date of the wedding has
been moved up to that very night. Nemorino sings, “Adina! Quest'oggi…No!” The way he utters that “No” is so touching, so poignant, that the
whole audience as one murmurs “Aww,” in support of their unlikely hero. At that
moment, I’m finding it hard to hold things together.
“Una furtive lagrima” is heartbreaking,
luminous, and full of longing. It begins with the simple but powerful gesture
of extending his hand up to the balcony across the stage, reaching out to Adina,
who is so near and yet so far. The aria concludes, and the audience erupts into
a thunderous roar. The warmth and tender affection shown by the audience to
their Nemorino and the joy on Rolando’s face melt your heart.
The program ends with a swirl of images and
sounds: Rolando clapping enthusiastically and encouraging us to clap in unison
with him, hugs and kisses all around, and a final wave goodbye to the delighted
audience. The television review the following day described it as a “real
party.” What an understatement!
The second performance (the 30th)
held its own very different set of surprises. Teresa has described the hubbub
created by the royals and the less than cordial welcome they received. This is
not an audience of tepid responses.
All these fireworks subsided, and my second
and final performance began. The first performance was so overwhelming for me
that I missed some of the details that I observed in the second performance.
This time I could focus on the new Nemorino that Rolando had created. What
struck me the most had to do with that second critical attribute, the one much
more difficult to convey: the poignancy of our hero. In this Nemorino, I saw the
poignancy that only experience brings. The poignancy of life when it doesn’t go
as expected, not necessarily in a bad way, or a feeling of hope slipping away. The
poignancy of life experienced intensely, with both joy and melancholy
intertwined. It was clear to me that Rolando, both the human being and the
artist, had been someplace, many places, and had something very new and very wonderful
to offer in this Nemorino.
The vehicle of this poignancy is the poetry
of the character and the artist: the extended arm, the longing gaze, the
exquisite lyrics, and the sweet music, all so full of emotion. Music and poetry
are the languages of emotion, but they succeed only when they move us. For that
infinitesimal moment, time and the boundaries between human beings are
suspended, and we partake of something that is bigger than we are and realize
what is quintessentially human in us.
Never was this more apparent than in the
second act when Rolando began to show signs that he was clearly fighting a cold. Despite not feeling his best,
Rolando dug deeply within himself to continue. And it was what he made of this moment that mattered. Yes, some of Rolando’s notes were not perfect,
but “Una furtiva lagrima” was something given to us with his whole body and
soul, with everything that he had, through sheer force of will, heart, and determination.
It was the gift of himself. Perhaps it was flawed, but it was so full of feeling
and raw emotion, that we saw ourselves in him. Not a machine, but a human
being. The audience knew EXACTLY what
was going on, and as he concluded, he was showered with cheers and bravos that
equaled if not exceeded those of the 27th. Clearly moved by this
outpouring of affection, Rolando placed his hand on his heart and beamed at his
adoring public in thanks for a warm embrace of unconditional love that I have
never, ever, seen before in a theatre.
It made me think of Thomas Hardy (Tess of
the d’Urbervilles): “It was the touch of the imperfect upon the would-be
perfect that gave the sweetness, because it was that which gave the humanity.”
It may not have been a flawless performance, but I would not have traded it for
another, nor for the world.
Once again, the evening ended in a blur of
cheers, bravos, and applause, making it clear that the real royalty present
that night was there before us on the stage. With Rolando, the human being and
the artist are two sides of the same royally-minted coin, the mould for which
was shattered after that one and only use. It was a privilege to be there both
nights and a cherished memory of our one and only Nemorino that I will never
forget.
Joanna from New York
9 juin 2013
ROLANDO VILLAZÓN ENS ENVIA PETONS (CONCERT PALAU)
Es el primer video de Rolando Villazón grabado en catalán...hablado, porque ya lo hemos visto cantando magníficamente Rosó en el Liceu. En él, nos invita a asistir al concierto de cierre de su gira Verdi, el 27 de junio en el Palau de la Música, de Barcelona.
Hola, soy Rolando Villazón, esta será la primera vez que actuaré en el Palau de la Música Catalana, conocido por su acústica y belleza. Os espero allí, para celebrar el Año Verdi....¡besos!.
Merci, Catherine
ROLANDO VILLAZÓN Y NINA EICHINGER, EN LA AIDA DE LA ARENA DE VERONA (ZDF)
.bmp)
Me ha costado un poco desentrañar el asunto, porque las traducciones del alemán son poco precisas con Google. Ya hace semanas, a finales de abril, Hortensia me avisó de un artículo donde se anunciaba la presentación de la ceremonia de apertura del Festival Arena de Verona, con el estreno de Aida, por parte de Nina Eichinger y Rolando Villazón, y que sería emitido el 16 por ZDF. Una noticia un poco sorpendente, más que nada porque las óperas no tienen presentadores.
Me he esperado un tiempo a publicarlo, para tener más información, y ahora ya lo puedo aclarar. El estreno de Aída será el día 14 de junio, y ZDF retransmitirá esa representación el 16 de junio. La presentación del programa televisivo correrá a cargo de Nina y Rolando, que conducirán a la audiencia (de ZDF, no de la Arena) a través de la noche y harán alguna incursión en las interioridades de la producción. No sabemos, en estos momentos, si ellos estarán presentes allí el 14, o en los ensayos, o el mismo 16 en que se emite la ópera en diferido.
Esta nueva producción del grupo catalán La Fura dels Baus despierta grandes expectativas, y se contrapone por su modernidad y espectacularidad a los clásicos decorados para esta ópera que se utilizaban desde 1913. Coincide también con el Festival del Centenario de la Arena de Verona y el Bicenteranio de Verdi. Una buena ocasión y una mejor elección de Rolando y Nina para conducir a los espectadores televisivos en este gran evento, que espero poder tener pronto disponible aquí.
Más información Aida en la Arena de Verona: http://www.arena.it/aida
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