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Farinelli
 
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Farinelli

 R (Restricted)   VHS Tape
4.5 out of 5 stars  See all reviews (33 customer reviews)

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From Amazon.com

This interesting Belgian film from 1994 has a surface subject that might make a few guys wince: an 18th-century castrato, or castrated male opera singer. A superstar in Europe, Farinelli the vocalist--despite compromised equipment--gets his share of groupies and is showered with attention and gifts from rich patrons. Meanwhile, his brother--a so-so composer whose career and fortunes are inextricably linked to his sibling, as per their father's wishes--feels like a sham for enjoying the fruits of another's success. For director Gérard Corbiau, the real story is that of the forced bond between the two men, and their unspoken awareness that their separate destinies have been slowed by the arrangement. Corbiau gives us the best of two worlds: a costume drama with an unusual, even exotic, story line, and a tender, universal tale of real love. The opera sequences are a kick: the breathless crowds, Farinelli's hammy control over the drama, and his stunning castrato voice (manufactured by Corbiau via synthesized merger of male and female voices) and all make for great fun. --Tom Keogh

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Customer Reviews

33 Reviews
5 star:
 (26)
4 star:
 (2)
3 star:
 (3)
2 star:
 (1)
1 star:
 (1)
 
 
 
 
 
Average Customer Review
4.5 out of 5 stars (33 customer reviews)
 
 
 
 
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Most helpful customer reviews

5.0 out of 5 stars Orpheus, July 27 2002
By 
Kele Agi "Agi" (New York City -Houston- Eastern Long Island) - See all my reviews
This review is from: Farinelli (Widescreen) (DVD)
Not so mundane. It makes you wonder, what if they didnt stop castrating young males?

WOuld Jesseye and Kathleen still be the gay operatic icons on the 21st century?

Kelechi

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3 of 3 people found the following review helpful
5.0 out of 5 stars A Second Review Of A Great Film, July 1 2004
By 
Rudy Avila "Saint Seiya" (Lennox, Ca United States) - See all my reviews
(REAL NAME)   
This review is from: Farinelli (Widescreen) (DVD)
Director Gerard Corbiau's Farinelli won Best Picture of 1995. The foreign film, mixed Italian and French, retells the story of the famous and greatest castrato singer Carlo Broschi. The film is exotic, intensely emotional and loaded with beautiful music of the Baroque Era (1600-1750). With all the good things about this movie, comes some things that might be rather disturbing or inappropriate for a younger audience. This is assuredly an adult film. There are two explicit sex scenes at the beginning and end of the film. This is a movie for an adult who is interested in the period, in the life of the castrati and in opera at this time. The opening introduces Carlo Broschi as a little boy singing in the church choir. Another young lad has been castrated to preserve his voice and is so mortified he leaps to his death. Eventually Carlo's brother Riccardo is obligated to do the same to his brother. We don't learn until later in the film that it was Riccardo and not Carlos' brother that conducted the castration. Here, Farinelli is usually quite ill and is forced to take opium as medicine. Farinelli does not seem to think highly of his brother's operas, which are written exclusively for his voice. Instead, he believes the greatest composer of this time is George Frederic Handel, played convincingly by Jerome Krabbe. In a dinner party, in which the Nobles insult Handel, Farinelli is outraged and declares that Handel will long be remembered and not the Nobles and their operas. This ends up being true since Handel is considered one of the greatest composers of this period togeter with Johann Sebastian Bach.

The movie has some inaccuracies and are not historically true. Naturally, this being a costume drama, there are some elements which were entirely fictional created for the sake of sensationalism. Although it is true Riccardo Broschi did compose operas for his brother Farinelli, there is no real evidence they "shared" the women they bedded. In the movie, a Countess is so enamored with Farinelli that she jumps into bed with him only to discover he's castrated. Thus, Riccardo plants the seed and Farinelli only lures the women into bed and seduces them. This is fabricated material to "sex up" the movie. In real life, Farinelli I'm inclined to believe was chaste. He sung many times for religious services and was a devout Catholic. He may not have been at all bitter for his castration since he lived like a king all his life, surrounded in luxury. He was well acquainted with European royalty, all of Europe loved him and he died after years of singing in the chambers of King Phillip of Spain. The rivalry between the Nobles Theatre Opera and Handel's opera company is true. In fact, it remains the only true thing about this movie. The English in London disliked the German foreigner Handel and his prominence in London. He was so beloved that even King George and Queen Anne protected him. The Nobles schemed endlessly to get rid of Handel. The portrayal of Handel as a musical genius, a man of stubborn, perfectionist character is all true. I think the most moving scenes are those with Handel, such as the scene in which Farinelli is overhearing him play the organ in the church and is moved by the music and the scene of Farinelli singing "Lascio Chio Pianga" from Rinaldo which ultimately moves Handel to tears. All the scenes of opera and Farinelli singing in his majestic costumes in this movie are stunningly beautiful. Finally, this movie's soundtrack is incredible. It contains the combined voices of tenor Derek Rogin and soprano Ewa Mallas as the singing voice of Farinelli. The arias sung here are taken from Riccardo Broschi's operas Idaspe and Artaserse and from Handel's Julius Caesar and Rinaldo. A superb film and a must see for fans of Baroque opera.

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5.0 out of 5 stars L'humain atteint le divin, Nov 11 2005
By 
This review is from: Farinelli (Widescreen) (DVD)
Ce film est féérique par ses décors, par ses costumes, par ses situations plutôt hirsutes et baroques au sens de bizarres. Nous sommes dans un monde de magie, la magie de la musique, la magie de la voix, la magie du chant dans ses extrèmes. Farinelli est campé par son acteur comme ce qu’il devait être, un être torturé par sa castration, capricieux dans ses désirs, ses envies, ses sautes d’humeur, ses maladies, et ses performances. Il est sans cesse entre l’hystérie et la langueur romantique, entre la haine de son sort et l’amour qu’il ne peut connaître qu’en partage avec son frère et que son frère ne peut connaître qu’en soumission à ce castrat qu’il a fait contre son gré (le gré du castrat bien sûr) et dans son plus pur intérêt (l’intérêt du frère bien sûr), intérêt qui en devient un esclavage qui ruine ses potentialités de compositeur pour faire dans le populaire, le surchargé, le rococo, bref l’art déco musical avant l’invention même de l’art déco. Heureusement Haendel fut là, autoritaire, intraitable, refusant toute concession pour remettre ce Farinelli sur la bonne voie de la musique, sur la bonne voix de l’émotion musicale et non de l’émotion du saltimbanque de foire, même si c’est sur une scène d’opéra. Je reprendrai la question que j’ai un jour posée à Bowman, un alto qui fut célèbre il y a une dizaine d’années : Que représente l’alto sémiologiquement ? Sa réponse fut « I don’t give a f*** ! » (je vous laisse traduire cette subtile déclaration). Ici, et si on connaît les grands rôles d’alto de Haendel, on découvre que l’alto est la voix qui transcende le monde normal et donc qui peut le mieux exprimer le génie, le héro, le divin même, bref tout ce qui est au-delà de l’humain banal ou normal, j’entends le moyen, le médian, le médiocre, ce que l’on ne remarque pas car c’est perdu dans la masse. L’alto c’est la voix de l’au-delà, la voie vers l’au-delà de tout ce qui est en-deça de cet au-delà.

Dr Jacques COULARDEAU, Université Paris Dauphine, Université Paris I Panthéon Dauphine

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