SAARIAHO Lámour de loin Salonen DVD-VID


L 'Amour de loin
Gerald Finley · Dawn Upshaw · Monica Groop
Orchestra and Chorus of the
Finnish National Opera
Esa-Pekka Salonen
Directed by Peter Sellars
Int. Release 01 Aug. 2005
1 DVD-Video
0440 073 4026 4
DVD-VIDEO NTSC 0440 073 4026 4 GH
STEREO: PCM / SURROUND: Dolby Digital 5.1 & DTS 5.1
Picture Format: 16:9 (Bonus 4:3)
Subtitles: French/English/German/Spanish
Salonen leads Saariaho's defining masterpiece "L'amour de loin" at the Finnish National Opera


Kaija Saariaho (1952 - )
Saariaho: L´amour de loin


Act I


Finnish National Opera Orchestra, Esa-Pekka Salonen

Gerald Finley, Finnish National Opera Orchestra, Esa-Pekka Salonen, Finnish National Opera Chorus, Marge Mehilane

Gerald Finley, Monica Groop, Finnish National Opera Orchestra, Esa-Pekka Salonen, Finnish National Opera Chorus, Marge Mehilane

Act II

Dawn Upshaw, Monica Groop, Finnish National Opera Orchestra, Esa-Pekka Salonen

Monica Groop, Dawn Upshaw, Finnish National Opera Orchestra, Esa-Pekka Salonen


Gerald Finley, Monica Groop, Finnish National Opera Orchestra, Esa-Pekka Salonen

Dawn Upshaw, Finnish National Opera Orchestra, Esa-Pekka Salonen, Finnish National Opera Chorus, Marge Mehilane

Act IV

Gerald Finley, Monica Groop, Finnish National Opera Orchestra, Esa-Pekka Salonen

Gerald Finley, Monica Groop, Finnish National Opera Orchestra, Esa-Pekka Salonen, Finnish National Opera Chorus, Marge Mehilane

Act V

Dawn Upshaw, Monica Groop, Finnish National Opera Orchestra, Esa-Pekka Salonen, Finnish National Opera Chorus, Marge Mehilane

Gerald Finley, Dawn Upshaw, Monica Groop, Finnish National Opera Orchestra, Esa-Pekka Salonen, Finnish National Opera Chorus, Marge Mehilane

Dawn Upshaw, Monica Groop, Finnish National Opera Orchestra, Esa-Pekka Salonen, Finnish National Opera Chorus, Marge Mehilane

Peter Sellars

Kaija Saariaho

Esa-Pekka Salonen

Gesamtspielzeit: 2:36:08

With wonderfully clear and comprehensive sound, this is an incredibly beautiful and moving experience.

While operas don't always fare well on DVD, this one has a few electrifying dimensions of its own, including sonic immediacy and impossibly close-up views. Medieval in spirit but modern in aesthetic, "L'Amour" reenacts the tragic life of Jaufré Rudel, a 12th century troubadour who falls in love with Clémence, Countess of Tripoli, solely in his imagination . . . Vivifying this static plot is Saariaho's shimmering score and Amin Maalouf's poetic, symbol-laden French libretto, whose beauty survives translation into English subtitles and sustains interest over a largely internalized, five-act drama . . . Finley sings Saariaho's music as if it's in his native tongue and exudes rage and tenderness with equal conviction . . . Upshaw is radiant and sets each mellifluous phrase aloft with expressive force.

. . . the opera proves an absorbing and often affecting experience, one which it is hard to imagine being done greater justice than in the present production.

. . . this is a DVD to commend to anyone interested in contemporary opera, and it comes with short but worthwhile interviews with director, composer and conductor. Heard through hi-fi speakers, the recording does magnificent justice to Saariaho's sonic imagination.

. . . her first opera and a masterpiece . . . Everthing about the performance is beautifully evocative and . . . resolutely contemporary . . . the score has an entrancing expressiveness that reveals new layers like an unfolding flower, rewarding repeated attention on DVD.

. . . Saariaho's shimmering Messiaen-like score holds it all together with hypnotic, ritualistic beauty, and the three singers are outstanding. Sellars's production is a spare, minimalistic affair that suits the abstract nature of the work, and it is captured with plenty of close-up detail.

This new opera by a leading Finnish composer has proved a sensation in Salzburg, Paris, Santa Fe and Helsinki. A medieval romance between a troubadour and his
distant love, it features a libretto of exquisite poetry by Amin Maalouf, rapturous music by Kaija Saariaho, stunning performances (especially by Dawn Upshaw), superb conducting by Esa-Pekka Salonen and a production of simple, ecstatic beauty wondrously filmed by Sellars.

"L¿Amour de Loin" is a work of extraordinary power and beauty . . . It is a work that, furthermore, restores the lyric stage to the level of myth and mystery, of appeal to an audience to lose itself in timeless imagery ¿ not just the reworking of some popular movie scenario. It is, in other words, a genuine opera . . . Peter Sellars¿ evocative
production fills the stage with water, not only to signify the gulf separating the lovers, but to cast a rippling shimmer that gorgeously reflects Saariaho¿s deep, dark, achingly beautiful music ¿ its orchestra wondrously enhanced by subtly interspersed electronics. Dawn Upshaw¿s final ironic outburst, as the dead Jaufré (Gerald Finley, San Francisco¿s recent Oppenheimer) lies in her arms, is, simply put, the stuff of sublime operatic drama.

This is a breathtakingly beautiful opera and Peter Selar's production is both visually striking and dramatically effective. The cast of singers simply couldn't have been bettered and Salonen is a conductor with a unique understanding of the score. The DVD also contains illuminating interviews with the protagonists. One to treasure . . . Director Peter Sellars's striking production which features on this DVD presents the work brilliantly: simple, symmetrically symbolic, a stark set shimmering with the effect of light on water, mirroring the liquescent, iridescence of the score.

Salzburg saw the premiere of Kaija Saariaho's astoundingly beautiful "L'amour de loin" in 2000 in the same production recorded here four years later in Helsinki . . . Musically, her performance is beyond praise. The dynamic range, the word-painting, the shifting from sung to spoken words is all astonishingly beautiful. Moreover, she is completely committed dramatically. Working with one of her favorite directors, she gives a performance that is sufficiently detailed to survive and even enhance the often extremely close camera work. The same can be said for baritone Gerald Finley and mezzo Monica Groop as Jaufré and the pilgrim. He is all questioning energy while she is a center of calm, both flooding the stage with waves of gorgeous singing. The production, which famously includes a stage-wide pool in which the singers walk and eventually lie . . . is remarkably beautiful.

Der neue Troubadour. "L'Amour de loin" heißt die Oper der Finnin Kaija Saariaho, die 2000 in Salzburg in einer vor allem im Film schön anzusehenden Ausstattung uraufgeführt wurde. Dawn Upshaw, Monica Groop und Gerald Finley sangen unter Esa-Pekka Salonens Leitung die Geschichte vom Troubadour Jaufré Rudel, ein mystisch-raunendes Musik-Märchen um eine der großen Gestalten des frühen Minnesangs. Ein Beweis, dass heute mit sparsamen, doch raffinierten Mitteln ein durchaus faszinierender Klangteppich für eine sanfte Erzählung gewoben werden kann. Postmoderne, für Einsteiger empfehlenswert.

Sellar inszeniert in Zusammenarbeit mit Jukka Leinonen (Director of Photography) nichts weniger als einen genuinen, aufregend expressiven Film.

Das Hohelied der Liebe: Leidenschaft ohne Erfüllung, Sublimierung von Leidenschaft durch Poesie, Erfüllung in einer anderen, vielleicht besseren Welt. In Salzburg war ein wundervoll tönendes Juwel zu bestaunen, die schönste, wichtigste Novität der Mortier-Ära und gleich an der Schwelle des neuen Jahrhunderts eine hochbedeutende Oper, die seither ihren Siegeszug um die Welt angetreten hat . . . in der jetzt vorliegenden DVD-Aufzeichnung einer Aufführung der Urinszenierung in Helsinki steht Esa-Pekka Salonen souverän am Pult des Orchesters der Finnischen Nationaloper.

Ohne Olivier Messiaen wäre die Musik der in Paris lebenden Komponistin wohl kaum denkbar. Das gilt vor allem für den Reichtum an Farben, die dem Orchester der Finnischen National Oper unter Esa-Pekka Salonen prächtig von den Instrumenten geht . . . Exzellent die Bildqualität dieses zeitgenössischen Meisterwerkes, das in Kooperation mit dem Théâtre du Chatelet (Paris) 2000 in Salzburg aus der Taufe gehoben wurde.

Schöne, starke Bilder hat Peter Sellars für dieses zwischen Troubadour-Melodik, Impressionismen und Spektralismen changierende Werk geschaffen . . . mit vokaler Finesse und Ausdrucksintensität.

. . . [eine] ungemein poetische, ganz aus der Musik heraus entwickelte Inszenierung . . . Uneingeschränktes Lob verdient . . . die musikalische Umsetzung. Esa-Pekka Salonen und das Finnish National Opera Orchestra arbeiten ein Maximum an Farben aus der komplexen Partitur hervor. Stimmtechnisch souverän und mit großer innerer Anteilnahme gestaltet Monica Groop die Partie des Pilgers. Als Jaufré und Clémence bieten Gerald Finley und Dawn Upshaw ein Höchstmaß an stimmlicher und darstellerischer Intensität.

L'ouvrage de Saariaho, sur un livret d'Amin Maalouf, déroule lentement le cérémonial de son action, presque immobile mais d'une poésie certaine (grâce, entre autres à la magie des sonorités orchestrales et chorales auxquelles se mêlent les ajouts et transformations électroniques). Le film apporte la plus-value des gros plans sur le jeu expressif des chanteurs.

Esa-Pekka Salonen succède à Kent Nagano, exaltant le brillant, la finesse des couleurs instrumentales, maîtrisant un discours qui s'achemine vers une fascinante suspension du temps. Cinq ans après sa création, "L'Amour de loin", porté par des interprètes inspirées, n'a pas pris une ride. Des trois entretiens offerts en prime (Sellars, Saariaho, Salonen), le plus palpitant est celui du metteur en scène, subjugué par cette interpénétration culturelle entre la France médiévale et l'Arabie, par ce regard amoureux que porte un monde sur un autre, et qui fait naître l'espoir.

Le très lanciant, le très poétique, le très attachant et le très événementiel "Amour de loin" de Kaija Saariaho (sur un livret d'Amin Maalouf), crée l'été 2000 à Salzbourg . . . Rien à dire, tous ont gardé l'émotion, la tendresse, l'humanité du premier instant, et Salonen se charge avec une grâce et une pénétration infinie de la tapisserie de mélismes orchestral et choral . . . la caméra de Sellars, magistralement vive, a volontairement retiré une partie de la poétique du spectacle, pour privilégier une direction d'acteurs superbe, qui l'emporte désormais sur le souvenier de l'image scénique globale, sans rien enlever à l'émotion que porte la partition. Un choix heureux, puisqu'il offre désormais une autre profondeur, plus intense, à l'oeuvre.

Mystère post-debussyste que flattent le spectacle, entre eau et tours, de Sellars, et la direction amie de Salonen.