Genaux, Henschel, Harnoncourt - Haydn: Il Mondo della Luna (2010)
Genaux, Henschel, Harnoncourt - Haydn: Il Mondo della Luna (2010)
Classical | Bluray-rip 720p | Audio: Italian | Subtitles: Italiano, English, Deutsch, Francais, Espanol | Run time: 166 mins | 7.58 GB
AVC, MKV 1280x720 (16:9) 29.97fps, 4868kbps | DTS, 48000Hz, 6ch, 1510kbps
Classical | Bluray-rip 720p | Audio: Italian | Subtitles: Italiano, English, Deutsch, Francais, Espanol | Run time: 166 mins | 7.58 GB
AVC, MKV 1280x720 (16:9) 29.97fps, 4868kbps | DTS, 48000Hz, 6ch, 1510kbps
First Haydn Il Mondo della Luna (which has blissfull Mozartian spirit) on DVD and Blu-ray! Nikolaus Harnoncourt created an interpretation in which Haydn’s work can become a veritable gem of opera literature. Renowned actor and director Tobias Moretti relates the story as a light-footed, magical fairy tale infused with slapstick, witty details and fantasy costumes.
Composer: Franz Joseph Haydn
Performer: Markus Schäfer, Maité Beaumont, Christina Landshamer, Dietrich Henschel, …
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus
Reviews: Of all of Haydn's operas "Il Mondo della Luna" ("The World of the Moon") and "l'Anima del Filosofo" ("The Soul of Philosophy" also known as "Orfeo ed Euridice") seem to be the most frequently revived. "Il Mondo della Luna" is not, in my opinion, Haydn's greatest opera (I'll give my own opinions on these later), but it is certainly wonderfully charming, with a very durable, whimsical, and occasionally truly witty libretto by the dramatist Carlo Goldoni, whose plays, with their wooden two-dimensional characters, are all but forgotten now. "Il Mondo della Luna" was certainly popular, having been set not only by Haydn but also by Galuppi and Paisiello (among others). And there is good reason for this - it's funny, whimsical, has a hint of fantasy, and plays well.
The only problem with this wonderful performance was in the director's decision to update it to the 20th century. Goldoni's libretto reeks of the 18th century (in which it was written). Goldoni pokes fun at the advances in science (and the relatively new science of astronomy) as well as the wild claims which were being made at the time by hack astrologers with their "miraculous" telescopes. It would be hard for anyone today in our post-modern world to believe that the moon was inhabited with people, kings and queens, houses and cities - yet in the 18th century this was still a somewhat believable, if not widely respected, notion. What might have seemed like science fiction in the 18th century is pure fantasy to us today - so to try to encumber this text with the modern trappings of closed circuit television, telescope monitors, etc. is clumsy and completely out of keeping with the spirit of the text.
The opera's central character, named "Buonafede" (Italian for "good faith") is one of the most credulous in all Italian opera, but his credulousness in a modern setting goes almost beyond belief. It is fun and comical to see an 18th century character believe that the moon is inhabited, believe that by taking a sleeping drought mixed with opium that he is literally "flying" to the moon's surface - but this just doesn't work when it's set in a modern, realistic frame.
This is somewhat made up for by the somewhat fantastic 2nd act, which has a set more in keeping with Goldoni's ideas. Buonafede, who, I think, Goldoni meant us to laugh at, really comes across as a rather pathetic character in his ridiculous Barbara Eden "I Dream of Jeannie" get-up, and his attempt to stop the turntable from spinning at the end of the second act, to remain in this fantastical world of the moon (including his incredible acrobatics and the additional line not found in the text that he still wishes to live his life as a "lunatic") make his rapid conversion in the opera's third act a little more believable.
Haydn's music is, of course, at all times charming, and sometimes even really exceptional. However, this was an old libretto even by Haydn's time,and even Mozart would have been hard pressed to flesh out the stereotypical characters(Buonafede's daughters are interchangeable, and only the serving maid Lisetta shows some liveliness - but, she, too, is a stock figure - in a long line which would also include Mozart's Despina). Yet, I found myself really thoroughly satisfied after the performance, and had the desire to dig out my old Dorati recording to hear the music all over again. The performances in this production are first rate all the way, with special gold stars definitely going to Dietrich Henschel (who makes Buonafede as sympathetic as one could possibly manage to do) and the magnificent Vivica Genaux.
Those who go into this expecting revelation will be disappointed. As previously stated, Haydn was not given exceptional material here - but several arias stand out and the two action finales are beautifully constructed. But if one really wants to hear a Haydn operatic "masterpiece" then I would heartily recommend "Orlando Paladino" (which, at times, comes close to Mozart's "Don Giovanni") or the practically perfect "l'Isola Disabitata" - also based on a warhorse of a libretto (Metastasio's text was set by countless composers) yet this libretto (that of "l'Isola") is one of the simplest and most beautiful ever written, and Haydn's setting of it amazingly forward looking.
Not that "Il Mondo de la Luna" is any bad shakes. Those not familiar with any of Haydn's operas should give it a try. Yet, it's a shame that a plot which simply demands an 18th century setting has been muddled and made hopelessly confusing by resetting it in a time period which is completely at odds with its own peculiar conceits and conventions.
Tracklisting:
1. Il mondo della luna, H 28 no 7 by Franz Joseph Haydn
Performer: Markus Schäfer (Tenor), Maité Beaumont (Mezzo Soprano), Christina Landshamer (Soprano),
Dietrich Henschel (Baritone), Bernard Richter (Tenor), Vivica Genaux (Mezzo Soprano),
Anja-Nina Bahrmann (Soprano)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus
Period: Classical
Written: 1777; Eszterhazá, Hungary
Cast:
Ecclitico – Bernard Richter
Ernesto – Vivica Genaux
Buonafede – Dietrich Henschel
Clarice – Christina Landshamer
Flaminia – Anja Nina Bahrmann
Lisetta – Maite Beaumont
Cecco – Markus Schäfer
Concentus Musicus Wien
Conductor - Nikolaus Harnoncourt
Screeshots
Genaux, Henschel, Harnoncourt - Haydn: Il Mondo della Luna (2010)
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My own rip