- Michelle Breedt (Mezzo Soprano)
- Placido Domingo (Tenor)
- Iride Martinez (Soprano)
- Christian Gerhaher (Baritone)
Notes & Reviews:
"Goya is strong, passionate, quite theatrical and overwhelmingly romantic....This opera is constructed on unabashed passion and most of all excitement... it's intensive theater - comic, probing, visually spectacular." Washington Post, 1986
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Gian Carlo Menotti, who would have celebrated his hundredth birthday in the summer of 2011, was far from being a musical revolutionary - and yet he had a crucial influence on the history of 20th century opera. He wrote his first opera at the age of eleven and remained committed to this great art form for the rest of his life. His Amelia al Ballo, first performed in 1937, was an early example of the elements that were to bring him fame and lasting popularity: grand melodies, dense orchestration and an unerring sense of the dramatic. "What is important for me is to see living, singing people on the stage," he once said - and it was with this in mind that he wrote all the libretti for his own works. One can imagine the conversation about music - in particular modern music - that took place when Menotti invited Domingo to dinner in 1977. It wasn't long before the crucial question was raised: "Gian Carlo, why don't you write an opera for me?" As they thought about an appropriate topic, Domingo mentioned the life of the great Spanish artist Francisco Goya, whose work he admired above all others. "Domingo suggested Goya and I agreed immediately", said Menotti later. "I think it was the only time I accepted someone else's idea."
Goya: PLÁCIDO DOMINGO
Duchess of Alba: MICHELLE BREEDT
Maria Luisa, Queen of Spain: IRIDE MARTINEZ
Martin Zapater: CHRISTIAN GERHAHER
Conducted by EMMANUEL VILLAUME
Stage Directed by KASPER BECH HOLTEN
Stage & Costumes by STEFFEN AARFING
The work has a number of gorgeous arias and duets, and this performance should win it a new and enthusiastic audience. Kasper Bech Holten's staging is traditional, straightforward, and moving. Emmanuel Villaume's conducting has sweep, ardor, and firmness of pulse; the music never sags.
Even away from historical accuracy, we have the most important in the life of Goya, from the Duchess of Alba, a little sensual but dutiful Michelle Breedt, lfricoligera Iride Martinez as the histrionic sovereign Maria Luisa or less interesting but involved Andreas Conrad and Maurizio Muraro as Charles IV and Godoy respectively. Also have a luxury Gerhaher as Martin Zapater, or currently in high demand Nadia Krasteva in the role of Leocadia. However, here the stars go for a scenic monster as Sunday, in a role that being written especially for him, hidden defects and potential virtues.
Run Time: 101 min.
Picture Format: NTSC, 4:3, Color
Sound Format(s): LPCM Stereo,
Subtitles: Engish, German, French, Spanish, Italian, Japanese, Korean
The opera itself features Iride Martinez as the Queen of Spain, who also desires Goya and is antagonized by the Countess, whom she eventually poisons. The painting scene between Goya and the Countess is playful and the Countess’ death scene is particularly powerful and moving. The last Act of this three act opera, where the Countess dies and where a much older Goya himself dies, is a fascinating combination of warmth and compelling sadness, mixed with forgiveness. The performers are wonderful, and the sets and music (performed by the Radio-Symphonieorchester Wien and Festival-Choir KlangBogen Wien) all work very well with this belcanto-style opera.
I was captivated by “The Consul” the first time I saw it, and was very pleased to discover this opera from Mr. Menotti…and it did not disappoint in the slightest. I sincerely recommend it.
Submitted on 01/23/12 by KlingonOpera
Submitted on 02/06/12 by Dan Coombs
Works DetailsMenotti, Gian Carlo : Goya
- Performers: Michelle Breedt (Mezzo Soprano); Placido Domingo (Tenor); Iride Martinez (Soprano); Christian Gerhaher (Baritone)
- Conductor: Emmanuel Villaume
- Ensemble: Vienna Radio Symphony Orchestra
- Period Time: Modern
- Form: Opera/Operetta
- Written: 1986