The same team that brought you The Met’s recent hit production of Carmen returns with Massenet’s tragic romance Werther. The sublime new production comes to cinemas nationwide live on March 15th. For more information and participating theaters, visit http://www.fathomevents.com/event/werther
Two of opera’s greatest artists—Jonas Kaufmann and Sophie Koch—appear together for the first time at the Met in Massenet’s sublime adaptation of Goethe’s revolutionary and tragic romance. It is directed and designed by Richard Eyre and Rob Howell, the same team that created the Met’s recent hit production of Carmen. Rising young maestro Alain Altinoglu conducts.
Don’t miss the chance to experience the excitement of the Metropolitan Opera, including interviews and behind-the-scenes features exclusive to The Met: Live in HD series, all at your neighborhood movie theater!
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Two of opera’s greatest artists—Jonas Kaufmann and Sophie Koch—appear together for the first time at the Met in Massenet’s sublime adaptation of Goethe’s revolutionary and tragic romance. It is directed and designed by Richard Eyre and Rob Howell, the same team that created the Met’s recent hit production of Carmen. Rising young maestro Alain Altinoglu conducts.
Don’t miss the chance to experience the excitement of the Metropolitan Opera, including interviews and behind-the-scenes features exclusive to The Met: Live in HD series, all at your neighborhood movie theater!
Enter To Win
A Pair Of Tickets To See This...
- 3/12/2014
- by Movie Geeks
- WeAreMovieGeeks.com
It may seem cruel to be giving one of the most well known operas (and one that was well received during its run at Covent Garden’s Royal Opera House) such a poor review. However, the central problem of Carmen 3D (2011) isn't the opera; the performances are predominantly very good, with a fantastic cast including Christine Rice as Carmen and Bryan Hymel as the jealous Don Jose. The real issue with Carmen 3D is the 3D.
The question of 3D cinema is becoming a bit of a tired debate now, with traditionalists saying it will never catch on whilst the studios plug more and more cash into 3D films. This review is not intended to give a long winded opinion on the technology's merits and faults, but simply asks, “Do we need 3D opera?”.
I would suggest (quite strongly) that we don’t. The main argument that is levied by...
The question of 3D cinema is becoming a bit of a tired debate now, with traditionalists saying it will never catch on whilst the studios plug more and more cash into 3D films. This review is not intended to give a long winded opinion on the technology's merits and faults, but simply asks, “Do we need 3D opera?”.
I would suggest (quite strongly) that we don’t. The main argument that is levied by...
- 3/4/2011
- by Daniel Green
- CineVue
Antonacci/Gillet/Richards/Cavallier/Monteverdi Choir/Orr/Gardiner
(Fra, 2DVDs)
This was recorded last year at the Opéra-Comique in Paris, where Carmen had its premiere in 1875. It in no way attempts historical reconstruction, but aims for a sense of the original scale and scope of a piece that has been performed as everything from the most intimate of chamber works to an epic, with a cast of thousands. John Eliot Gardiner conducts Richard Langham Smith's new critical edition with fiery precision, while the period sound of the Orchestre Révolutionnaire et Romantique adds rawness to the prevailing sensuality. Adrian Noble's production, hampered by its vortex-cum-bullring set, doesn't ideally anchor the work in the French naturalist tradition, but Anna Caterina Antonacci and Andrew Richards generate such a terrific erotic charge as Carmen and José that you understand why its first audiences found it obscene. Anne-Catherine Gillet's Micaela is timorous rather than morally strong,...
(Fra, 2DVDs)
This was recorded last year at the Opéra-Comique in Paris, where Carmen had its premiere in 1875. It in no way attempts historical reconstruction, but aims for a sense of the original scale and scope of a piece that has been performed as everything from the most intimate of chamber works to an epic, with a cast of thousands. John Eliot Gardiner conducts Richard Langham Smith's new critical edition with fiery precision, while the period sound of the Orchestre Révolutionnaire et Romantique adds rawness to the prevailing sensuality. Adrian Noble's production, hampered by its vortex-cum-bullring set, doesn't ideally anchor the work in the French naturalist tradition, but Anna Caterina Antonacci and Andrew Richards generate such a terrific erotic charge as Carmen and José that you understand why its first audiences found it obscene. Anne-Catherine Gillet's Micaela is timorous rather than morally strong,...
- 12/10/2010
- by Tim Ashley
- The Guardian - Film News
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