Gaëlle Arquez has such a luxurious voice!

Arie: 9:15 - Aria di Cesare: “Empio, dirò, tu sei” 14:31 - Aria di Cornelia: “Priva son d’ogni conforto” 20:53 - Aria di Sesto: “Svegliatevi nel core” 27:57 - Aria di Cleopatra: “Non disperar, chissà?” 33:50 - Aria di Tolomeo: “L’empio sleale indegno” 47:42 - Aria di Sesto: “Cara Speme, questo core” 53:43 - Aria di Cleopatra: “Tu la mia stella sei” 56:53 - Aria di Cesare: “Va tacito e nascosto” 1:05:55 - Aria di Achilla: “Tu sei il cor di questo core” 1:10:20 - Duetto di Sesto e Cornelia: “Son nata a lagrimar” 1:19:45 - Aria di Nireno: “Chi perde un momento” 1:26:22 - Aria di Cleopatra: “V’adoro, pupille” 1:33:32- Aria di Cesare: “Se in fiorito ameno prato” 1:44:09 - Aria di Tolomeo: “Si spietata, il tuo rigore” 1:49:09 - Aria di Sesto: “L’angue offeso mai non passa” 1:57:26 - Aria di Cesare: “Al lampo dell’armi” 2:02:08 - Aria di Cleopatra: “Se pietà di me non senti” 2:17:56 - Aria di Sesto: “L’aura che spira” 2:23:40 - Aria di Achilla: “Dal fulgor di questa spada” 2:28:30 - Aria di Tolomeo: “Domerò la tua fierezza” 2:33:36 - Aria di Cleopatra: “Piangerò la sorte mia” 2:42:28 - Aria di Cesare: “Aure, deh, per pietà” 2:52:09 - Aria di Cesare: “Qual torrente, che cade dal monte” 2:54:22 - Aria di Sesto: “Ha la giustizia ha già sull’arco” 3:00:00 - Aria di Cornelia: “Non ha più che temere” 3:06:29 - Aria di Cleopatra: “Da tempesta il legno infranto” 3:15:46 - Duetto Cleopatra e Cesare, poi Coro: “Più amabile beltà”; “Ritorni omai nel nostro core”

Comme toujours Melle Devieilhe exceptionnelle de justesse - surprise - respect - innovation - ligne de chant... un trésor de la République ! et que dire du Signor Fagioli qui fait renaitre l'idée de ce que pût être le travail hallucinant des castrats du 18ème et de l'impact qu'ils eurent sur leurs contemporains = le tout dirigé par un prodige du chant qui connait toutes les contraintes d'un chanteur / acteur un must dans ma discographie auprès de la version avec Natalie Dessay et celle de Cécilia Bartoli toutes 2 différentes dans leur approche mais passionnantes Merci à ces grands artistes et à l'abnégation que cela représente en plus de la somme de travail ! 🙏🙏😘😘

Sublime singing, extremely poignant and deeply touching staging. That's a rare combo.

Franco Fagioli....Bravo! Those who likes him and this Opera, please don't miss Julio Caesar in Egypt in Teatro Colon June 2017. Great Performance of all the cast.

What I really loved about this production is its unique interpretation of characters during various arias. For example, you'd normally expect Cornelia and Sextus to be holding each other tightly during 'Son nata a lagrimar" but in this interpretation, they are so consumed in their own grief, that they are unable to comfort the other which is a very interesting take on the aria. Also loved the villainous performance of Carlo Vistoli.

Puesta en escena tan paupérrima que desmerece una ópera de esta categoría

Quel plateau somptueux ! Alors que je peux souvent avoir des doutes à l'égard de mises en scène "déportées" de leur contexte originel, celle-ci est magnifique et nous offre des images et des symboles d'une grande puissance. Le dépouillement laisse place à un vrai travail d'acteurs et favorise le drame. Il se dégage une force incroyable de ce spectacle. J'adore.

Par la chaleur de son timbre, son pathos, sa musicalité, sa technique et la qualité de sa diction Sabine DEVIEILHE me rappelle une autre très grande soprano, une de mes préférées et qui nous a, hélas, déjà quitté ; Edita GRUBEROVA.

I wish I had seen this live. Thanks for posting. Beautiful production.

Artisti straordinari e produzione fantastiche (checché ne dicano molti che non l’hanno apprezzata). Francesco Salvadori un baritono straordinario così come Sabine Deilehive. Bellissimo il riferimento alle Parche che governano la vita e la morte degli uomini con i loro fili; il “Peso” della vendetta che Sesto mette sulla bilancia risultando non abbastanza pesante; e la scena finale… che dire, la chiusura dell’Opera con la morte di Cesare che fa riderimento al quadro di Vincenzo Camuccini “La morte di Cesare” è un vero tocco di classe. Che dire, mi sento fortunato ad essere italiano e a poter godere della gioia di leggere il Libretto originale. Grazie ❤️

Scène 8 de l'acte 2. J'ai eu la chance de le vivre en direct. Un moment de grâce cathartique. Encore bravo pour cette production magnifique.

Sabine's performance of se pietá was beyond superb. Her dynamic choices were powerful; haunting and intimate. That was a master class.

stunning opening image !

That is extraordinary! That's a visual feast and a vocal heaven all in one!

Giulio Cesare | Haendel 00:00 Intro 0:49 Acte I - Scène 1 5:48 Acte I - Scène 2 7:00 Acte I - Scène 3 12:52 Acte I - Scène 4 25:07 Acte I - Scène 5 32:12 Acte I - Scène 6 37:25 Acte I - Scène 7 42:30 Acte I - Scène 8 55:54 Acte I - Scène 9 1:03:38 Acte I - Scène 10 1:05:10 Acte I - Scène 11 1:18:32 Acte II - Scène 1 1:24:31 Acte II - Scène 2 1:39:24 Acte II - Scène 3 1:41:35 Acte II - Scène 4 1:47:21 Acte II - Scène 5 1:47:54 Acte II - Scène 6 1:54:35 Acte II - Scène 7 1:55:41 Acte II - Scène 8 2:12:39 Acte II - Scène 9 2:15:09 Acte II - Scène 10 2:16:59 Acte II - Scène 11 2:23:02 Acte III - Scène 1 2:27:04 Acte III - Scène 2 2:32:45 Acte III - Scène 3 2:41:23 Acte III - Scène 4 2:53:51 Acte III - Scène 5 2:58:30 Acte III - Scène 7 2:59:07 Acte III - Scène 8 3:03:41 Acte III - Scène 9 ***. Giulio Cesare | Haendel -

Un casting extraordinaire mention spéciale à Franco faggioli et Lucile richardot

Ce « Giusto ciel » fera date. Je retiens surtout que Sabine Devieilhe a atteint une vraie maturité.

Brilliant! Use of reflected images with minimal staging enhances the amazing voices. Bravo!

Very interesting to see and listen to what was evidently a very divisive production (the professional reviews on Operabase, etc, and the comments below). Here on this channel we have heard loud applause for the singers after arias and duets. At the first performance, with a double disaster involving that wretched plastic sheet, the director was singled out for vigorous booing. But on Opera Today, Michael Milenski makes a smart remark about a similar designer-led and disaster-dogged performance of 'Ariodante': "The audience indulged Mr. Jones with rapt attention in the second and third acts ... and rewarded him with thunderous boos ... meaning that we had had a very good time and loved every minute and that we did not know what to think." Opera has always gone off like this, it's part of the joy. For my own part, it seems to me perfectly legitimate for a production to look at the characteristic frothy language of the libretto and decide (in effect) - 'OK, 'Fate' and the gods it shall be. Bring 'em on!' I loved the Parcae, the conspirators, even Cleopatra switching glamour wig for animal skull, etc. Changing the mood from love and heroic conquest to death and defeat gave everything an edge of challenge (and takes the libretto at its word.)

Thank you! This is a great production!

Même si elle n'est pas superposable à celle de maintenant, la violence envers les femmes existait déjà ! Les Parques, apparaissant en arrière plan de la scène, décidaient du sort de la vie de chacun : les fils rouges entre-mêlés symbolisent le cours complexe de chaque vie, les rencontres, les croisements, l'interruption ! Lucile R. excelle dans le rôle si difficile de Cornelia (1:41:35 Acte II - Scène 4), mère et veuve éplorée dans ce chef-d'oeuvre qu'est Giulio Cesare !

Where is the Beautiful Magnificent Opening Chorus ?! I am most seriously Displeased. 🤔🧐

Lucile Richardot est un miracle.

Un vrai régal ! Merci !😅❤

Minute 24:25 Respect for the counter tenor 💯

Danke schön!!! Bamberg

Great production!

Thanks for sharing this wonderful production--vocally and visually stunning. A thought-provoking reflection on fate.

Is there a cd or dvd of this production?

she never grows old she always stays in perfect condition she doesn't look old.

English subtitles! So welcome

👑 wenn auch nicht Alles eine Kommentar brauche, Madame Devieilhie ist göttlich👸

1:29:00 WOW

masterpiece!

Les personnages Romains Giulio Cesare (Jules César), contralto Cornelia (Cornélie), veuve de Pompée, contralto Sesto (Sextus), son fils, soprano Curio, tribun, aide de camp de César, basse Égyptiens Cleopatra (Cléopâtre), reine d'Égypte, soprano Tolomeo (Ptolémée), roi d'Égypte, son frère, contralto Achilla (Achille), général, conseiller de Ptolémée, basse Nireno (Nirenus), eunuque et confident de Cléopâtre, contralto Giulio Cesare in Egitto (ou souvent : Giulio Cesare) est un opéra en trois actes composé en 1723 par Georg Friedrich Haendel pour sa propre compagnie, la Royal Academy of Music. Le livret est une adaptation par Nicola Francesco Haym1, du Giulio Cesare in Egitto représenté à Venise en 1675 (texte de Giacomo Francesco Bussani, musique d'Antonio Sartorio). L'opéra de Haendel est créé au King's théâtre Haymarket de Londres le 20 février 17241. C'est, dès l'origine, un succès et Haendel le reprend en 1725, 1730 et 1732. Avant le xxe siècle, la dernière représentation a lieu à Hambourg en 173

O Franco 😳 sei adorabile 🎉 Che duetto... 🤦 Lacrime sono al miei occhi

Merci, merci! Abonnée à Mezzo, mais pas disponible au Québec. Bravo à tous, et au sublime Philippe.

핸델 주님의 쥴리어스 시저의 경묘한 선율은 언제나 한국인의 가슴속에 스며드는 군요. 핸델 주님 39세의 능숙함이 가득합니다. 쥴리어스 시저의 늪에 빠져 몇 달동안 허우적거리고 있는 이 불쌍한 한국인 교인을 구원하여 주소서 핸델 주님이시여!

Ces costumes sont hideux ! On ne va pas à l'opéra comme à son bureau mais pour le plaisir des yeux (et de l'oreille bien sûr) et se sortir de la grisaille du quotidien !

Merci ! Merci ! Merci l

J'aime beaucoup la voix de Francesco Salvadori (dans le personnage d'Achille), baryton italien qui est remarquable ! Voir à l'acte III scène 1 (temps 2:23:02) : c'est le thème de la trahison qui est là... souvent présent à l'Opéra, mais aussi dans la vie réelle ! Récitatif : In tal modi si premia il mio lungo servir, la fede mia? Barbaro re, ti pentirai fra poco d'avermi offeso, andiamo prodi campioni, e a Cleopatra avanti offriam le nostre insegne, offriamle il core, e sia menda al tardar l'alto valore. [N. 32 Aria] ACHILLA Aria : Dal fulgor di questa spada vuò che cada umiliato un empio cor; già non dée soffrir l'offese che difese il suo regno col valor.

Poor people, needed to walk in slow-mo because of staging.

Bella edizione (malgrado la regia di Micheletto). Finalmente c'è Nireno (ruolo sopresso in molte edizioni) però io avrei assegnato Giulio Cesare a Fagioli e Sesto (che ricordiamo era in origine la Durastanti) e il personaggio è una ragazzino quindi non virile) a Gaëlle Arquez.

🤮🤑🤮🤑🤮🤑🤮🤑🤮🤑👺🤑👺😡💩😡😖😠🤥👹💀🤬😈🤢😤🤥😠😖🤑😡😠💩🤮🤬👺😱👿😞😈😤🤕🤢🤬👹💀🤥😖🤮😡🤑💩🥴😈🤬🥶🤥😱😵😤🤮

This is my favourite adaptation I love the creative staging and the expressive acting this is beautiful

핸델 주님의 쥴리어스 시저를 영접합니다, 한국 핸델교 교인 200만명은 주님의 대표작인 이 작품을 매일 영접합니다, 나의 생명 나의 희망 핸델 주님이시여 이렇게 아름다운 선율을 한국인에게 남겨 주심에 한국인 모두는 핸델 주님을 경배합니다, 나의 생명 나의 사랑 핸델이시여 그 영광 영원하소서 !!!

best rendition of that queens aria at 2: 02: 00

2:57:02

Очень люблю музыку Генделя Некоторые любят улучшить Генделя. И как правило не то.

Stupendo, bravi tutti, Vistoli finalmente riconosciuto come il grande artista che è. La lettura psicologica di Cleopatra eccellente, Fagioli, epurato dalle sue “ingolature” molto bravo anche scenicamente, Salvadori duro e affilato come un uomo del kgb…

Better to just listen to the sublime music….forget the crazy stage antics….the weird tethered Cesare…the incongruent costuming. Perhaps this is Julio Cesare in Hell, or some other alternate reality after their earthly lives. But, again we have the glorious Masters score intact. I recall hearing and seeing my first Cesare at New York City Opera….Beverly Sills, Norman Treigle.

The music, libretto and performances were incredible but I’m sorry I really struggled with the staging for this. It was a bit too out there for me. I think they really overdid it with the naked ghosts and the skulls and it was just a bit laughable in parts when it wasn’t supposed to be. Also so much of it was cut and stupid interpretations were added in.

Timing is everything in life, especially, with opera ; not trying to sound philosophical ... but with this, one of the greatest of Baroque Music, its so important to know how unlucky we are in the 21st century. Just imagine opening nite of this master-creation of music and opera ; envision the two greatest female singers of that time ; try as hard as you can, to form a picture of the magnificent sounds of some of the most virtuoso castratri ; fantasize seeing Handel conducting. We have to visualize so much, we get lost in _this_ unfortunate time. In this time :: ⭕️ there are no great castratri or female virtuoso singers ⭕️ we are not hearing Handel's master-work as it was heard in 1724. ⭕️ singers cannot, dare not, even try to improvise the singing during a performance. ⭕️ the singers here would not be acceptable to Handel, except, maybe, fagioli. they don't have any virtuoso skills. the "contralto" as j.c., has no depth or power in the lower-range. ⭕️ we not only have to close our eyes to these productions without furniture, we have to close our ears to the third-rate singers who are without even trills let alone other coloratura skills. If we have to close our senses when listening to opera ... what's the point ❔️

Giulio Cesare in Egitto from Händel : c'est une superbe mise en scène antique dans ce théâtre des Champs Elysées à l'architecture Art Déco "néo-gréco-latine" ! Ces 3 Moires ou Parques (car nous sommes à l'époque romaine) en sont la parfaite illustration. Franco FAGIOLI chante magnifiquement, notamment l'aria de la vengeance ! Le poids qu'il met sur la balance d'une des trois Parques (Clotho, Lachesis ou Atropos ?... je ne sais plus) ne semble pas assez lourd, hélas !... A l'interface entre le monde des morts et celui des vivants, le personnage de Sesto est fascinant : Franco Fagioli vit pleinement son personnage dans la musique et les décors : sa voix, son jeu, ses expressions (il semble torturé moralement)... Un très beau moment d"émotion ! Recitatif Vani sono i lamenti è tempo, o Sesto, ormai di vendicar il padre si svegli alla vendetta l'anima neghittosa che offesa da un tiranno invan riposa. Aria Svegliatevi nel core furie d'un'alma offesa a far d'un traditor aspra vendetta! L'ombra del genitore accorre a mia difesa e dice: a te il rigor Figlio si aspetta.

Cleopatra going on a screaming note at the end of all of her cadenzas gets old real quick. Otherwise amazing.

Musique exceptionnelle, interprètes magistraux et mise en scène nulle.

Dommage pour le premier air de Cornelia - ciselée par Händel, soupir après soupir - que Lucile Richardot aurait sans doute desservie à merveille si seulement le chef d'orchestre - pourtant chanteur expérimenté - lui avait donné le temps. Exemplaire, dans ce sens, reste l'enregistrement de Marc Minkowski avec Charlotte Hellekant dans le même rôle. Autrement, je propose mes services pour la diction parlée et chantée de l'italien et notamment pour Adrien Fournaison dont la prononciation est bourrée d'erreurs.

Was all that plastic really necessary in Act III?

21:16

Van vestidos de época, de época imperial....😅

Is it preproduction rehersal? They wear street clothing. Is there a version with staging on KZfaq that i could actually want to watch?

1:24:43 - V'adoro pupille

If I were only listening to -- and not watching -- this production, I would say it was one of the best, perhaps even the best Giulio Cesare I had ever heard. The soloists, the choir, the orchestra, the direction -- all superb! The audio quality is likewise. In all these respects, this production equals, and even surpassses my previous favorite to date -- that by the Glyndebourne Opera, under William Christie, with Sarah Connolly as Cesare, and Danielle De Niese as Cleopatra. But when I go beyond listening to this production and actually WATCH it,,,,,,,,,,,,,,,,,good lord, it sucks, and it sucks big time. The costumes, set design, and overall acting are simply awful. I do not mind modern dress or set design -- even in early operas. But those modern costumes and sets just do not work here. And to top it off, they are not even attractive or especially creative modern sets and costumes. Compare the overall visual appearance of this production with the Glyndebourne mentioned above. The Glyndebourne is unfortunately not available in full here on YT. However there are enough short scenes available here to judge. And mind you, the Glyndebourne production is anything but "traditional" in costume and set design. But still, they are effective to convey a very definite mood and atmosphere -- specifically a mood of colonialism/imperialism, creating a very clever and impactful analogy between the Empire of ancient Rome and that of Victorian Britain. I love it. But what mood and atmosphere are conveyed here? I do not know. But whatever else it may be, it is definitely weird. The weirdness reaches is epitome in Act II, Scene 2, when Cesare sings his aria "“Se in fiorito ameno prato”. What in the world is going here? Cesare is in a room, wandering about covered in party streamers. PARTY STREAMERS, for God's sake! What possible message is being conveyed by party streamers? But wait,,,,,,,,,,,,,,,there's more. It gets better. As Cesare stumbles about, covered in party streamers, a bunch of women come walking slowly out. The women are not covered by party streamers. They woman are not covered by anything. They are naked. As I said, I'm no stuffy opera purist. I do not in the least mind nudity in opera -- when and where it fits. But what's it doing HERE -- in THIS scene?? What's it telling us? Nudity and party streamers? What is the message??? That Cesare was indulging in psychedelic mushrooms, or something? Is that the message? Give me a break! Frankly ,,,,,,,,,,,,,,this whole production might very well have been improved had it been performed entirely in the nude. At least that would have coveted some sort of semi-coherent statement. Keep the nudity -- lose the party streamers. That would be my suggestion. Anyway,,,,,,,,,,,,,,,, sorry to rain on Maestro Jaroussky's parade. I do sincerely adore him. He's a magnificent vocalist. But this production is a complete and utter dud. Feel very sorry for the folks who actually had to shell out money to attend it. Music = A+; Production = F-.

Orribile regia 😮😮😮😮

There is a lot of difference with this creative production from Juilliard School NY. A group of young people at a music/art festival in the desert. Sensitive singing (bel canto); fantastic costumes and a funny, extravagant travesty at the end. kzfaq.info/get/bejne/rNqca8tl2qzJY2Q.html

nonton gambar nya gelap apa yg dlihat jelek

Why naked people always, do they not know how to make a product without it?

Otra buena opera👍. Otra buena ejecución👏👏. Otra 💩 de puesta en escena.

Nackte Tatsachen; schöne Defragmentierung!

Tout compte fait, cette production n'a rien à envier à celles historiques signées Jacobs ou Minkowski.

For the love of god, just do it as a concert performance. Spare us the Eurotrash staging.

En climat psychanalytique la mise en scène ne me parle pas...

placing operas in these modern settings isnt creative when every modern iteration does the same thing its just boring. people in their 30s and 40s could go to the opera regularly and never see an opera in the setting the creator intended and thats a tragedy. most of the people staging these operas are not the geniuses handel or mozart were so they should just stick to the script. if they were we would be seeing operas they wrote instead of them just subverting the works of handel and mozart. the long march through the institutions has been a disaster for music and art. its not a coincidence we are still watching and listening to art funded by the aristocracy and the church and everything funded by our neo-marxist governments, ngo's and art world are mostly ignored due to low quality.

Ridiculous stage design.

This is 'Regietheater' at its most pretentious and utterly banal, frequently actively interrupting some of the most beautiful music. Complete compensation though found in Sabine Deveilhe's truly extraordinary singing as Cleopatra, - quite mesmerising musically and technically. Despite the banalities of the staging, her expression and acting was equally compelling. Gaëlle Arquez sings beautifully as ever, though she didn't entirely persuade as Caesar. Franco Fiagoli really inhabits his role with singing that matches the character, even if I find this 'fach' far too fruity and slightly hysterical for my taste. All other parts were played and sung very well, especially Lucile Richardot. Jaroussky and his band were just fabulous too, creating a musical experience greater than any I have encountered before. If only we had a staging to equal this performance, it would count as one of - perhaps THE greatest - ever productions of this opera.

Francesco Salvadori (personnage d'Achille) est remarquable, notamment à l'acte III scène 1 (temps 2:23:02)

I hate neoterism. The visual new age garbage is so distracting. I'm only listening to it in the backround. Complete nullification of the magnificent original.

Quite astonishing to see that Micheletto not only got inspired from Keith Warner‘s Theater an der Wien production,but literally copied the whole thing… never saw such a shameless theft of someone else’s concept . Wow.

Sublime musique bien sûr - mais la mise en scène inappropriée et prétentieuse est pire qu'on ne pourrait jamais l'imaginer...🤮

Congratulations to all the performers, the music, singing & acting were all first class. I didn't understand at all the symbolism / imagery, of the 'background characters' (dead people / premonitions etc.?) I found it really distracting, & Cleopatras aria with an animal skull on her head was to me simply ridiculous.

Non si puo guardare! Una pena! La follia è che premiano pure questo regista…

Quoique minimaliste au possible, la mise en scène vaut toujours mieux que l'horrible réalisation du Jules César de Salzbourg 2012...Par contre du point de vue musical il y aurait encore beaucoup à faire pour égaler Antonini et Bartoli. Mais l'effort consenti ici est louable et le choix des chanteurs est judicieux et leur travail compense la relative inexpérience de P. Jaroussky en matière de direction d'orchestre. Cependant, et après maintes écoutes, il faut saluer le travail orchestral qui vaut largement celui de nombres de ses nouveaux confrères, chefs d'orchestres. Il ne finira jamais de nous étonner.

Quelle mise en scène affreuse...

2:36:09 ハンニバル

Another overblown attempt at replacing the original story with annoying psychobabble and a changed ending. Very distracting and adding nothing of worth to the original. Some odd choices of singers sesto and cornelia didnt appear well matched for their duet - both didnt appear ideal for their roles - I love Franco Fagioli in every other role Ive seen him in, but this role didnt seem to suit his voice. Musically it was generally pretty good, but a lot of the stage 'business' I found pointless and distracting. Cesare was beautifully sung. Im unsure why this type of staging still exists its not 'cutting edge' its all been done before, including the pointless nudes floating around. If something doesnt add value to the original opera but distorts or changes the original meaning/story (I know there isnt much in Handel) it shouldn't try to pass itself off as that opera. Oops! a bit of a rant - sorry.

Horrible producción Nos quitan las ganas a los aficionados. Que lástima de tiempos

Horrible travesty of what this opera should be.

Посмотрела постановку. Да ..некоторые лучше слушать .Ну зачем Цезаря убили ?

Das war nicht gut; das war SEHR GUT! Gleich nochmal!

Бомжи в бане. Всё же извращения неизбежно пожирают мозг.

"Ensemble Aratoires" ARATOIRES ?? Cela devient une très mauvaise - mais vraiment une très mauvaise et navrante habitude - que cette NEGLIGENCE qui abonde désormais dans l'ensemble de la "communication digitale", et ce quelque soit l'outil !! Je me réfère à la présence constante, systématique et quotidienne d'erreurs de grammaire et/ou orthographe, qui se traduisent souvent par des "perles" comme celle-ci !!!!! Des énormités dont personne se soucie, ou presque ! Le nom correct de l'orchestre fondé par Jaroussky est ARTASERSE, le terme ARATOIRE indique tout autre chose !!! Il faut vraiment y mettre du sien pour l'écorcher à ce point et - autre usage rentré dans les mœurs - NE PAS vérifier le texte avant de valider !!! Et dire que vous êtes la prestigieuse maison du TCE, qui a produit le spectacle !!!! Chapeau mesdames et messieurs, mes compliments !!!!!!!!!!!!!!!!!!

Musique et chant magnifique et mise en scène à deux balle, moche,moderne et donc nase

Je n'ai pas trop aimé Jules César!

Mimo udziału znanych śpiewaków, inscenizacja rozczarowuje.. Franco Fagioli źle współbrzmi z Lucile Richardot . Sam zamysł inscenizacyjny - wydumany jakiś i bez polotu. No, słabe to jest....

A budget production. Nothing much happens on screen, just the bare minimum. Opening chorus was cut! Other music thrown in. Rubbish production.

Let's all modernize art into extinction. Oops we already did.

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3:06:27

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