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Thread: Favorite director on Dvd

  1. #16
    Senior Member sospiro's Avatar
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    Quote Originally Posted by mamascarlatti View Post
    Benoît Jacquot. May his firstborn turn against him, his steak always be overcooked, every parking space in the lot be occupied, and every radio station he switches on be playing Sarah Brightman and Andrea Bocelli.

    Because of what he did to this:



    Is that all?
    Ann

  2. #17
    Senior Member amfortas's Avatar
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    Willy Decker, for his Verdi triple-Decker:


  3. #18
    Moderator mamascarlatti's Avatar
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    Quote Originally Posted by sospiro View Post


    Is that all?
    You think the Bocelli and Brightman bit is going too far?
    Natalie

  4. #19
    Moderator mamascarlatti's Avatar
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    Quote Originally Posted by amfortas View Post
    Willy Decker, for his Verdi triple-Decker:

    I prefer a bit of subtlety with my symbolism. Being bashed over the head repeatedly with a clock or cross or whatever tends to get on my nerves.
    Natalie

  5. #20
    Moderator mamascarlatti's Avatar
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    Quote Originally Posted by amfortas View Post
    Nikolaus Lehnhoff, for his challenging Wagner productions:
    I love watching interviews with this man in his intellectual precise German. You could bottle it and sell it as "Essence of Konzept".
    Natalie

  6. #21
    Senior Member amfortas's Avatar
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    Harry Kupfer, for not one but two DVD Ring cycles, and a classic Fliegende Holländer:


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  8. #22
    Moderator mamascarlatti's Avatar
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    Jonathan Miller cops a lot of vitriolic flack in the press but I loved this 50s Little Italy Rigoletto in the 80s for ENO in the 80s.

    Natalie

  9. #23
    Senior Member amfortas's Avatar
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    Quote Originally Posted by mamascarlatti View Post
    I prefer a bit of subtlety with my symbolism. Being bashed over the head repeatedly with a clock or cross or whatever tends to get on my nerves.
    Absolutely, Decker is quite blatant in his symbols. But though they may sound awful in conception ("She's dying, see? Running out of time, right? So . . . there's this great big CLOCK . . ."), I somehow find them working much better in execution. I think it's partly because, obvious as the symbols may be, they *are* apt, and therefore lend themselves to a variety of sometimes effective uses.

    Or it could just be that I'm a master of the obvious, and recognize a kindred spirit.

  10. #24
    Senior Member amfortas's Avatar
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    Quote Originally Posted by mamascarlatti View Post
    I love watching interviews with this man in his intellectual precise German. You could bottle it and sell it as "Essence of Konzept".
    Yes, it's not always that illuminating to hear directors talk about their work--any more than it can be for certain authors, artists, or composers.

  11. #25
    Moderator mamascarlatti's Avatar
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    I'd avoid Mary Zimmerman on the whole. Vacuous updatings that have nothing to do with any part of the opera.

    That awful business with the photographer in the Act two sextet:



    Completely ridiculous and unbelieveable staging in all ways:

    Natalie

  12. #26
    Moderator mamascarlatti's Avatar
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    Kaspar Bech Holten, the new director of Opera at ROH, is responsible for the Copenhagen Ring and the new "tortured artist" Tannhauser. I found them both fantastic and fascinating, but I know they get a lot of people's backs up due to liberties with the original story. The bonus in the Ring is the interview with a monarch who can talk about more than horses!

    Natalie

  13. #27
    Senior Member amfortas's Avatar
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    Quote Originally Posted by Almaviva View Post
    I love Robert Carsen.
    Quote Originally Posted by schigolch View Post
    I love many of the Robert Carsen's productions I've watched.
    Quote Originally Posted by mamascarlatti View Post
    I agree - intimately emotional Eugene Onegin at the Met, Les Boreades breathing the essence of wind and weather, and Dialogues des Carmelites with a heartstopping final scene among others.

    I second (or is it fourth?) that admiration of Carsen, including some of his productions that haven't received as much notice here. I particularly like his Rosenkavalier, lavishly updated to 1911, the date of the opera's premiere.


  14. #28
    Senior Member amfortas's Avatar
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    Götz Friedrich's work still holds up very well, with his two definitive Strauss films and such stage successes as his Bayreuth Tannhauser.


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    Quote Originally Posted by amfortas View Post
    Götz Friedrich's work still holds up very well, with his two definitive Strauss films and such stage successes as his Bayreuth Tannhauser.

    I know and admire all those productions yet never really acknowledged his name, nor even knew that one person is behind them all

  16. #30
    Moderator mamascarlatti's Avatar
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    Quote Originally Posted by amfortas View Post
    Harry Kupfer, for not one but two DVD Ring cycles, and a classic Fliegende Holländer:

    That endless stage in the Ring is a stroke of genius. Less is more, Mr Lepage.
    Natalie

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