Tchaikovsky's women : Fate /
Christoher Nupen's two films about Tchaikovsky. The films "do not use actors to represent the composer but are made entirely of Tchaikovsky's own words and music, plus the words of a few of his closest companions. The result gives an exceptionally intimate picture of the inner landsca...
| Corporate Authors: | , , , |
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| Other Authors: | , , , , , , , , , |
| Format: | Video DVD |
| Language: | English |
| Language Notes: | Commentary in English with subtitles in German, Spanish, French, Italian, Japanese, and English (opera sequences only). |
| Published: |
[Guildford, England] :
Allegro Films,
[2009]
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| Series: | Nupen, Christopher. Christopher Nupen films.
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| Subjects: |
| Summary: | Christoher Nupen's two films about Tchaikovsky. The films "do not use actors to represent the composer but are made entirely of Tchaikovsky's own words and music, plus the words of a few of his closest companions. The result gives an exceptionally intimate picture of the inner landscape of Tchaikovsky's work and artistic preoccupations. ... The first film, Tchaikovsky's women (70:15) looks at the women both in his private life and in his music. In his early years, almost all of his best work was inspired by a deep identification with the plight of his suffering young heroines, an identification so complete that it spilled over repeatedly into his personal life with dramatic consequences, on one occasion leading to attempted suicide. This predilection began, when Tchaikovsky was 24 years old, with Katherina Kabanova in The storm. It continued in full flood with Juliet in Romeo and Juliet, Francesca da Rimini, Odette in Swan Lake and above all, Tatyana in Evgeny Onegin. ... The second film, Fate (85:35), looks at Tchaikovsky's strange relationship with Nadezhada von Meck which was to become the most important attachment of his life, after his mother. It also follows Tchaikovsky's shift from the fate of his young heroines to his increasing concern with the idea of fate as a controlling influence in his own life and as a motivating force in his later symphonies. Just as the fate of his vulnerable, young women had been the key element in his early work, just so did his obsession with the idea of fate become central to what he had to say in Manfred and the last three symphonies. The progression is inexorable and nowhere more evident than in the fatal message of the last movement of his final and greatest masterpiece ..."--Container. |
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| Item Description: | Originally produced as a 2 part television program in 1988 and 1989. Program guide in English, German, French, Spanish, Italian, Chinese and Japanese laid in container. Videorecording. |
| Physical Description: | 1 videodisc (156 min.) : sound, color ; 4 3/4 in. + 1 booklet (14 pages : color illustrations) |
| Format: | DVD; NTSC; all regions; format 4:3; stereo. |
| Production Credits: | Choreography, Graham Lustig ; historical adviser, Professor David Brown ; film editor, Peter Heelas ; camera, John Maskall ... [et al.]. |