The Met:
Live in HD.
Сезон 2017-2018

City:
Moscow

Cinemas:
Baltika
Cinema Park Kaluzhskiy
Cinema Park Metropolis
CINEMA PARK Rivera
Documentary Film Center
Eldar
Formula Kino CDM
Formula Kino Chertanovo
Formula Kino Europa
Formula Kino Horizont
Formula Kino na Kutuzovskom
Formula Kino Praga
GUM Cinema Hall
Kinomax Mozaika
Kinomax Prazhskaya
Kinomax Vodniy
KINO OKKO Afimoll City
Moskino Salyut
Moskino Yunost
Moskino Zvezda
Philharmonic 2 Concert Hall

Dates:
07.10.2017-30.06.2018


Choose city for details:


Любовный напиток
L’Elisir d’Amore

Country: USA
Year: 2018
Cast: Pretty Yende, Matthew Polenzani, Davide Luciano, Ildebrando D'Arcangelo
: Domingo Hindoyan
: Bartlett Sher
: Michael Yeargan
: Catherine Zuber
: Jennifer Tipton
Genre: opera
Language: Italian
Translation: russian subtitles
Time: 2 hours 39 minutes
Возраст: 16+

Pretty Yende debuts a new role at the Met with her first Adina opposite Matthew Polenzani, who enthralled Met audiences as Nemorino in 2013 with his ravishing “Una furtiva lagrima.” Bartlett Sher’s production is charming, with deft comedic timing, but also emotionally revealing. Domingo Hindoyan conducts. 

World premiere: Teatro Cannobiana, Milan, 1832. Met premiere: January 23, 1904. L’Elisir d’Amore has been among the most consistently popular operatic comedies for almost two centuries. The story deftly combines comic archetypes with a degree of genuine character development rare in works of this type. Its ending is as much a foregone conclusion as it would be in a romantic comedy film today—the joy is in the journey, and Donizetti created one of his most instantly appealing scores for this ride. 

The opera is set in a small village in rural Italy. Some early editions indicate a location in Basque country. The important fact is that it’s a place where everyone knows everyone and where traveling salesmen provide a major form of public entertainment. The Met’s production sets the action in 1836, when the Risorgimento, the movement for Italian independence, was beginning to gather momentum. 

What separates L’Elisir d’Amore from dozens of charming comedies composed around the same time is not only the superiority of its hit numbers, but the overall consistency of its music. It represents the best of the bel canto tradition that reigned in Italian opera in the early 19th century—from funny patter songs to rich ensembles to wrenching melody in the solos, most notably the tenor’s showstopping aria “Una furtiva lagrima” in Act II. Its variations between major and minor keys in the climaxes are one of opera’s savviest depictions of a character’s dawning consciousness.

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