Review Notre Dame De Paris Musical en Espanol
The greatest musical ever made!!! Bravo Plamondon, bravo Cocciante!!!
I'k a great music lover and musicals are among my favorites movies. I've seen equally many musicals and musical comedies every bit I could, but Notre-Dame de Paris is still the best and so far. All the singers involved have extraordinary voices and proficient acting talent, the dancers have been so advisedly chosen that their performance simply amazes you lot.
Richard Cocciante'southward music is just divine and unique. Although a bang-up music writer (see also Le roi soleil) and singer himself, Notre-Dame de Paris is the greatest success of his life. The story by and large follows the plot Victor Hugo established in his famous novel with some very witty modifications operated by Plamondon. The words are so artfully chosen that one can simply transfer back to Hugo's epoch and relive the story despite the fact that it now takes place on a mere stage. This is the reason why I think this slap-up musical is by and large more than valued by French speakers or at least with some knowledge of French.
As about the cast: Garou is just perfect for the part of Quasimodo (unforgettable and unique vox), Patrick Fiori and Julie Zenatti- two young beautiful voices to become huge stars of the French musical scene, Daniel Lavoie (just perfect for Frollo'southward part, human and malicious at the same time- Frollo I mean!!!),Helene Segara as a suave,elegant and refined gypsy daughter- far more appropriate than the Italian or English Esmeraldas (although well-known singers such as Tina Arena played in the English version of Notre-Dame), and last, but not to the lowest degree, Bruno Pelletier every bit Gringoire, 1 of the most beautiful and powerful voices ever. I wonder... does this man e'er breathe?
Just watch this video (or go and run across it in Paris if you take the chance; I'll certainly go as before long every bit I tin can) and I assure you lot that y'all will listen or watch it all over again (especially Belle, which is my favorite song e'er).
And ane more thing: my husband has always hated French language. The moment he saw Notre-Dame de Paris has started learning it.
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Perfect musical !
I love this musical. I always hated musicals until I saw this one. The music, the acting and the sets blew me away. I was glad I speak French, because that made it fifty-fifty more enjoyable because I really understood what they were singing. I grew upwards with this story and it's always been one of my all-time favorites. How tin you not be in love with this plot? Information technology'south all love-triangles and stuff like that, and information technology'south put perfectly in place for this story. What caught my attending immediately was the beginning song "Temps Des Cathédrales" because the vocals were then powerful and potent and after that was merely amazing. Seeing it in French really makes a difference because it really puts y'all in place of the musical. This is by far the virtually amazing musical e'er presented. Je l'adore!!!!
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The Musical of The Century!
Conventional wisdom has it that the French don't like musicals. Not true at all, as the success of this testify demonstrates. Plamondon and Cocciante accept concocted a masterpiece that perfectly captures all the important parts of Hugo's novel, and magnificently transports the whole thing to the stage. The scattering of young unknowns who star in this production on the video tape (virtually of them from Quebec) are almost overwhelming in their talent as singers, dancers, and dramatic performers. Bruno Pelletier shines as the anguished, tortured priest. Hélène Ségara (the only French star in the bandage) totally captures our hearts as the doomed Esméralda, and Garou (the proper noun ways "Werewolf" in French!) demands and receives all our sympathy as the hapless Quasimodo. Incredibly powerful supporting performances by Patrick Fiori as Phoebus, Julie Zenatti as Fleur-de-lys and Luc Merville as Clopin circular out a cast that can do no wrong.
Imagine Riverdance on steroids, "Westward Side Story" meets "Cirque de Soleil", or a Paris riot set up to music, and you have an idea of the scope of this incredible show. The choreography is the almost energetic, not to say frenetic, I have ever seen, and the well-nigh imaginative. Information technology'due south difficult to make up one's mind, at times, if we are watching a dance or a gymnastics exhibition.
If you can't become to Las Vegas, Montreal or Paris to see the show live on stage, this is the adjacent best thing. For me information technology totally eclipsed every rock opera and musical which preceded it, to become the definitive musical of the 20th century. And I believe it will be at to the lowest degree another generation before anyone can come up upward with a way to surpass it.
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An absolutely magnificent musical!
"Notre-Dame De Paris" is the best musical I accept e'er seen! With his stunning vox, Bruno Pelletier (the nigh wonderful vocaliser I take e'er heard of) shines every bit the poet Gringoire, receiving gold and quadruple platinum for his act. Daniel Lavoie plays Jean-Claude Frollo with his powerful vox. Hélène Ségara takes on the office of Esmeralda spectacularly, and Luck Mervil plays the part of her guardian Clopin with passion. When Garou sings you cannot do anything but mind, since he sounds astonishing, interpreting the role of the dearest-sick Quasimodo. Using his voice, which contains the softest sound I have e'er heard, for the role of Phoebus, Patrick Fiori does a truly excellent chore. And last only definitely non least, Julie Zenatti uses her unique and special vox for the role of Fleur-De-Lys, at the age of only 17. Richard Cocciante (music) and Luc Plamondon (lyrics) have washed the very hard chore of sticking to the story by Victor Hugo, and still managing to create a fantastic and beautiful musical. Because of its success, it has been translated into different languages such as (for instance) English language and Italian. This masterpiece is nearly honestly worth your time!
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Best version of this musical
Alert: Spoilers
Sets and costumes are stark and unproblematic - gypsies seem to observe their clothes from modern-day garbage, Esme is stuck in ugly peasoup-colored dress - only what Notre-Dame de Paris loses in visual dazzler and spectacle it wins with wonderful music and drama. Helene Segara is strong-voiced and suitably tortured equally innocent gypsy Esmeralda, Garou is my favorite Quasimodo and Daniel Lavoie (besides handsome to exist Frollo, actually) is wonderfully hammy equally racist, repressed priest: he gets many of the all-time and most evocative songs, sings them very well indeed and manages to evoke odd mixture of hate toward Frollo's actions and sympathy toward the man himself. Weird. For some reason librettists has changed Frollo's obsession to gypsy Esmeralda - his "affections of darkness" - from lust/infatuation to animalism/hate. Unfortunately it has Hugo'south downer ending, which is, quite frankly, even more than depressive and frustrating than it'due south touching, just the effect is oddly captivating.
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one word: Amazing
There are no words to describe when watching this pic, information technology's like a jiff of fresh air. Whether you are fluent in french or not yous will come to appreciate this motion picture instantly. It is a archetype story of male child loves daughter who loves someone else. If anyone has captured a classic it is Victor Hugo.
A dandy deal of people contributed to the beautiful theatrics in this production and although anybody sang beautifully 3 people stood out in my mind. Bruno Pelletier who played Gringoire, Garou who played Quasimodo, and last but non least Hélène Ségara who played Esmeralda. Bruno Pelletier's voice was so pure, so pure in fact that I never would take guessed he was singing live. I liked Garou's vocalism in particular considering it was like a modernized rock voice meshed with classical ballads. Hélène's vox was just amazing, her range was endless. The sound of their voices were so skillful that information technology literally brought tears to my eyes.
I strongly recommend this movie to everyone and I give it a x out of 10 simply for the fact that though in french it portrays the universal language of love, which is translated very clearly.
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A beautiful estimation of a classic tale
Richard Cocciante and Luc Plamondon'south comedy musicale is one of the finest earth musicals I have seen. The thing about foreign musicals is they practice non carry subtext and thought provoking fabric in the songs, just within the staging and visuals. Don't expect Stephen Sondheim. The great thing about these types of musicals is that you tin recollect nigh what'due south going on while you watch it, and but enjoy the music on CD. The performers are fantastic. I've long been a fan of each of them, Julie Zenatti being one of my favorite solo artists. Garou OWNS the role of Quasimodo, and the rest of the bandage is pitch perfect as well. All of the songs are melodic and romantic, and the french language is the icing on the cake. The story is much more than accurate than the Disney version, and includes one of the nearly gorgeous songs ever written, "Belle."
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Nearly successful of our modernistic musicals
The voices lonely prove simply why this musical was such a success in Europe and Asia. All of the cast have been decorated with diverse musical honours in and out of alive theatre in Quebec (with the exception of Helene Segara, a native French popular singer, and Garou, a newcomer to the alive entertainment circle). Their strong musical backgrounds fabricated this evidence absolutely irresistible.
Garou's performance as Quasimodo could not have been more than perfect every bit his rough vocalization accurately portrays the heartbreaking sadness of the grapheme. Helene Segara is sweet without being distasteful (i of the simply Esmeraldas who does not plaster herself all over Phoebus right from the starting time), and is powerful with her vox when she needs to exist while retaining a lighter sound when required. Daniel Lavoie's voice fits Frollo perfectly, but his songs seem lacking when compared to others. Patric Fiori and Julie Zenatti are wonderful when they sing together as Phoebus and Fleur-de-Lys, but both are equally stiff in their individual roles. Luck Mervil's Clopin is strong equally the leader of the Gypsies, though his notes are mercurial and quite unpredictable at times. And lastly, Bruno Pelletier narrates and threads the entire story as Gringoire, his voice e'er and then brilliantly bringing out the mood of each scene. The acting, on the nearly office, is very well washed. Considering that most of these actors have washed some kind of theatre in the past, there are very few exceptions, mostly to practise with dancers and the lack of interaction betwixt the characters.
The style of presentation is actually very refreshing, and it doesn't seem to matter that these actors no longer sing to each other but to the audience through very obvious head-mics. There are some small concerns with the pre-recorded tracks and chorus, but this trivial cheat is forgiven in view of the awesome alive performances past the cast. This kind of presentation along with the dancers who frequently become an extension of the gear up makes this musical seem more like a pop/rock concert, possibly more appealing to a younger audition. The choreography is very expressive, and the dancers set the perfect rhythm and feeling for each slice of music performed. The acrobatics, however impressive, never upstage the performers, striking an fifty-fifty balance. The night, cold and rather barren feeling of the empty stage evokes a sense of modernism, and enhances the tragedy inside the story.
Plamondon's libretto strengthens Cocciante's music, though both are plainly very able in each of their own discipline. The plot stays true to the book and omitted but things unnecessary in this particular delineation of the story. The English subtitles are accurate enough for one to appreciate the lyrics, and several of the songs practise interpret well into English. Simply when available, the original French language audio rail is the best to listen to in order to appreciate how the music carries the lyrics, even if the audition isn't fluent in French.
If there is anything left to be desired, it is bodily editing of the made for TV/DVD version. For the nearly part it does its job well. Besides giving a clear view of what the actors are doing individually and what the dancers are doing, the editors added some cropped closeups within a distance shot to requite the feeling of the entire stage. However there are some very, very clichéd stills inserted in attempts to emphasize certain things (such as the insert of Phoebus' face at the end of Boyfriend Comme le Soleil, depicting Fiori straining for a notation). That being said, one can at least be appreciative of being able to see what the actors expect like.
Overall, a wonderful musical/performance that delivers an enjoyable experience, and a very successful attempt at an innovative presentation. Information technology is absolutely a worthwhile musical to spend some time appreciating.
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Great performance
Despite not beingness a true musical functioning this is truly a great functioning with great singers.Garou with his special voice as the hunchback.A functioning i actually similar.I could sense the hurting in his voice.Beautiful Helene Segera every bit Esmeralda.A vulnerable soul in a racist earth.Patric Fioiri equally the confused soldier not knowing to whom to give his love.Daniel Lavoie as the priest Frollo torn by the love for Esmeralda and his faith.Bruno Pelletier with his beautiful voice playing Gringoire the poet. Great trip the light fantastic toe and phase piece of work. Well written music that express all the feelings from each character Great ensemble in a great piece of musical history.
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One of the all-time adaptation.
This is definitely a neat musical, definitely one of thursday all-time adaptation of the original piece of work. As the previous person said, just there was a mistake made by him or her, Bruno Pelletier was Gringoire, not Frollo. The whole musical was amazing, every singer had an amazing performance, communicating emotion even to non-french speakers. It has beautiful music and lyrics, likewise every bit singers that can sing them well. Out of every one of them my favourite is definitely the Quebecois Bruno Pelletier. He had a very beautiful voice and played the character of Gringoire actually well (ane affair to note is that Gringoire's grapheme is changed a lot, but Bruno Pelletier was superb in his office.) Even thought there are changes from the original work the musical stayed rather true to the original story. A work very worth seeing, fifty-fifty if you don't understand one word of French it can still touch on y'all. (there are subtittles in many language)
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Striking and melodic modern musical accommodation
Warning: Spoilers
Wow! Plamondon and Cocciante'southward sung-through musical adaptation of Victor Hugo's classic novel is stunning: moving, heady, funny, tragic. The cast is superb, the staging striking, the score melodic and exhilarating. In many respects, it's one of the more true-blue adaptations, although the modernisation of some aspects of the setting is not entirely successful. There may be *some spoilers ahead*, as I make comparisons with the book and other adaptations.
Pierre Gringoire's role has been expanded to function equally our streetwise narrator and guide through the story: Bruno Pelletier, a wise-great, adorable delight, is at his most mischievous in 'Val d'Amour', surrounded by Folies Bergère-style harlots! The other master characters fulfil the roles one expects. Luck Mervil is a dynamic, if youthful Clopin (it'south a flake of a jolt when he says he's brought upwardly Esméralda equally a father – they look the same age!), and comes into his own in the marvellous 'Cour des Miracles' scene, in which Pierre narrowly escapes hanging. Garou is an impressive and moving Quasimodo. Hélène Ségara is a graceful Esméralda, though peradventure *besides* dignified – I was more convinced by Lola Ponce in the Verona recording. Also, script-wise, in that location are issues with adaptations (like this) which give her a stronger, more than mature personality, because, while it's more convincing in terms of her groundwork, the plot hinges on her gullibility and immaturity re: the vain and duplicitous Phoebus (Patrick Fiori). A more plausibly streetwise Esméralda would be more likely to see through him and either avoid or manipulate him. Daniel Lavoie is heartbreaking, and a fine vocal presence, as Claude (although, every bit in well-nigh dramatisations, a couple of decades older than the character). He has some of the best songs, too: 'Tu vas me détruire', 'Etre prêtre' and 'United nations matin, tu dansais' – and it helps that the lyrics make powerful use of some of Claude's speeches from the novel. But then, his plight – torn betwixt his desires and his vows, between his traditional ecclesiastical education and the new learning of the Renaissance (here expressed in a duet with Pierre, 'Florence') – is what drives the novel and gives it its tragic center. He besides depicts the Archdeacon's increasing mental breakdown, up to the final hysterical flare-up that precipitates his death (dramatically staged). I'm unconvinced past the semi-modernisation making him a racist: the only gypsy with whom he really has a problem in the book is Esméralda, and that's because of his attraction to her. Julie Zenatti is effective as Fleur-de-Lys, here portrayed as an boyish, only shrewd and scheming: she knows what Phoebus is, and seeks to secure her hold over him by telling him to "hang the gypsy".
The minimalist sets piece of work well in terms of allowing the dance sequences to stand out, and to focus attending on the chief characters. However, every bit mentioned already, I'm non entirely convinced past the fractional modernisation. The grafting on of modern political themes – undocumented refugees, police racism and brutality – jars when we besides take songs such as 'Florence', which places the action in the Renaissance and anticipates the coming Reformation. A full modernisation of setting might piece of work (Dresden Semperoper did a 'Chicago'-style product of Schmidt's 'Notre Dame', with Esméralda-equally-Roxie Hart), or a full mediaeval staging (equally washed in the Russian youth theatre Sed'moe Utro's production in Novokuznetsk), just this is neither one nor t'other.
Overall, though, this is a magnificent show, and (bar its omission of subplots around Esméralda's real parentage and Claude's human relationship with his brother) is closer to the novel than virtually moving-picture show versions. Likewise, it passes the ultimate examination for whatsoever musical: you will start humming and singing some of the songs afterwards!
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I am not big fan of music simply this musical amazes me.
I knew music was cute and it makes me feel better only I practise not really savor listening the music and specially classical music such equally opera, Beethoven, Chopin, Mozart'due south music and philharmonic orchestra. I knew it was all wonderful music just whenever I listening to them, I will definitely become slumber. So I wouldn't relish it. I tin can just enjoy office of the music. For example, the flick 'The Shawshank Redemption' when Andy go to the prison house'southward declaration room and then playing the opera(I believe this is 1 of the best scene in all time.), it was beautiful music.
But, I do like watching musical fleck childish way because I would like to watching archetype Disney cartoon movie such as Beauty and the beast, The lion king, Aladdin so on.
I watched 'Notre-Dame de Paris' virtually 1 or 2 years ago and that time my English wasn't that expert enough to understand the subtitles and interestingly I don't even remember what story is almost and then I don't have whatever thought what to say about information technology.
And then a few days ago I have been listening the some musical album such as Les Misérables and Cats. Surprisingly, I realised that how much I enjoyed their singing and playing. This is the what happen when you watched best film or performance. Information technology'due south out of nowhere information technology came to my mind. I don't even know what they talking about or what this story is about but I was so badly wanted to scout it over again and listen to music once again.
I must give rate for 10/10 because I don't even understand what they were saying or talking almost only I still desire to watch information technology again.
This is extremely powerful and beautiful performance and energetic and splendour musical. Information technology doesn't thing whether anyone likes musical or non so I highly recommended to anyone.
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Blown away.
I finally plant this with English subtitles and every bit 1 who usually is turned abroad from musicals, this was absolutely beautiful. Garou is truly the star of the show as Quasimodo. He brings you in with passion, heartbreak, and talent I've never seen in other versions. The end will beat you just similar the book. This is the get-go musical I'll likely buy the album of, information technology's that expert.
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No one enjoys a proficient musical more than I do ...
... but the trouble of this production is that information technology'south very far from a adept musical.
Granted, one tin't always expect the witty masters similar Sondheim or Bernstein or Porter; nevertheless the music of this piece makes fifty-fifty Andrew Lloyd Webber look witty. It's deadly dull and uninventive (with one or ii exceptions) and just after I watched it I couldn't think a unmarried pregnant melody - which is rather tragic coming from someone who learned the whole Some other Hundred People from 3 listenings.
It is also strangely united nations-theatrical. It takes identify on an incredibly large stage (ane actually has to feel sorry for those people in front rows who broke their necks in order to see something happening 50 meters on the right or 100 meters on the left) and does absolutely nothing with it. When there's supposed to be one person singing on-stage, that's but what yous go - and the rest of the enormeous phase is empty. For me every bit an aspiring theatre director it was virtually painful to watch.
The fact remains, Cole Porter seems to have captured the French culture in his works amend than these no-talents tin ever come shut to. And I'one thousand puzzled by the popularity of this would-be-legendary musical.
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