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Farinelli

  • 1994
  • Tous publics avec avertissement
  • 1h 51min
NOTE IMDb
6,8/10
7,7 k
MA NOTE
Stefano Dionisi in Farinelli (1994)
Home Video Trailer from Sony Pictures Home Entertainment
Lire trailer2:16
1 Video
22 photos
Period DramaBiographyDramaHistoryMusic

Ajouter une intrigue dans votre langueThe story of castrato opera singer Carlo Broschi, who enthralled 18th-century European audiences under his stage name Farinelli.The story of castrato opera singer Carlo Broschi, who enthralled 18th-century European audiences under his stage name Farinelli.The story of castrato opera singer Carlo Broschi, who enthralled 18th-century European audiences under his stage name Farinelli.

  • Réalisation
    • Gérard Corbiau
  • Scénario
    • Andrée Corbiau
    • Gérard Corbiau
    • Marcel Beaulieu
  • Casting principal
    • Stefano Dionisi
    • Enrico Lo Verso
    • Elsa Zylberstein
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    6,8/10
    7,7 k
    MA NOTE
    • Réalisation
      • Gérard Corbiau
    • Scénario
      • Andrée Corbiau
      • Gérard Corbiau
      • Marcel Beaulieu
    • Casting principal
      • Stefano Dionisi
      • Enrico Lo Verso
      • Elsa Zylberstein
    • 41avis d'utilisateurs
    • 20avis des critiques
  • Voir les informations de production sur IMDbPro
    • Nommé pour 1 Oscar
      • 6 victoires et 4 nominations au total

    Vidéos1

    Farinelli
    Trailer 2:16
    Farinelli

    Photos22

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    Rôles principaux24

    Modifier
    Stefano Dionisi
    Stefano Dionisi
    • Carlo Broschi (Farinelli)
    Enrico Lo Verso
    Enrico Lo Verso
    • Riccardo Broschi
    Elsa Zylberstein
    Elsa Zylberstein
    • Alexandra
    Caroline Cellier
    Caroline Cellier
    • Margareth Hunter
    Marianne Basler
    Marianne Basler
    • Countess Mauer
    Jacques Boudet
    Jacques Boudet
    • Felipe V
    Graham Valentine
    • Prince of Wales
    Pier Paolo Capponi
    Pier Paolo Capponi
    • Broschi
    Renaud du Peloux de Saint Romain
    • Benedict Hunter
    Delphine Zentout
    Delphine Zentout
    • Young admirer
    Omero Antonutti
    Omero Antonutti
    • Nicola Porpora
    Jeroen Krabbé
    Jeroen Krabbé
    • Georg Friedrich Händel
    Richard Reeves
    Jonathan Fox
    Jo Betzing
      Karl-Heinz Dickmann
      Stefan Mazel
      Wolfgang Grindemann
      • Réalisation
        • Gérard Corbiau
      • Scénario
        • Andrée Corbiau
        • Gérard Corbiau
        • Marcel Beaulieu
      • Toute la distribution et toute l’équipe technique
      • Production, box office et plus encore chez IMDbPro

      Avis des utilisateurs41

      6,87.6K
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      Avis à la une

      5EUyeshima

      Fascinating World of Castrati Overshadowed by Brotherly Co-Dependency

      Something seems strangely amiss with what could have been a fascinating historical glimpse into the world of the castrati (castrated male opera singers) in 18th-century Europe. This 1994 Belgian film is an opulent production full of stunning costumes and set decorations, but director Gerard Corbiau is far more focused on the co-dependency between two real-life brothers, Carlo Broschi, the swoon-worthy castrato known to the world as Farinelli, and his marginally talented composer brother Riccardo. Although there are glimpses of the castration that occurred when Carlo was ten, the narrative deals very little with the psychological anguish of this act, instead showing extravagantly vainglorious scenes of Farinelli's impact on audiences at the time. It's as if the story structure of the Baroque operas written at that time took over the sensibility of the screenplay and trivialized the human complexities into exaggerated melodrama.

      Despite a valiant effort by Stefano Dionisi in the title role, Farinelli is portrayed as a moody, self-centered egotist rather than a misunderstood artist. Compounding the problem is the fact that his masculine speaking voice is at odds with his ethereal singing voice (obviously a creative decision so as not to alienate the general audience from the character's plight). Moreover, the computerized melding of countertenor Derek Lee Ragin and soprano Ewa Mallas Godlewska into Farinelli's voice simply does not sync up well with Dionisi's lip and throat movements. In other words, you simply don't believe it's Dionisi's voice coming out of him. When the film finally takes flight in the last third of the film, it's because the focus has shifted to the competitive, intense relationship between Farinelli and the great composer of the age, Handel. Jeroen Krabbe - familiar to American audiences for his nasty turn as Barbra Streisand's condescending husband in "The Prince of Tides" - plays Handel with such passionate fury that I wish the film was more about his character. This sequence climaxes with the film's musical highlight, a trio of wonderful, truly classic arias from Handel's "Rinaldo".

      Unfortunately, the remaining musical performances are not nearly as absorbing and rather repetitive. The film again flails toward the end when we are given a rather silly scene involving a solar eclipse and gratuitous nudity with a ménage a trois among Farinelli, Riccardo and Alexandra, the woman who is - quite literally - between them. The remaining performances are fine with Enrico LoVerso conveying his Salieri-like inferiority with appropriate fervor, Elsa Zylberstein beguiling as Alexandra and Caroline Cellier doing a fine Jeanne Moreau impersonation as the jaded Margareth Hunter. Overall it's still a relatively disappointing movie saved by Handel's musical genius. Except for a few trailers, there are no extras with the DVD. For those interested in the world of the castrati in more penetrating detail, I suggest reading Anne Rice's 1982 novel, "Cry to Heaven", and the "Rinaldo" arias are better served by countertenor David Daniels and mezzo-soprano Cecilia Bartoli on their 2002 cast recording conducted by Christopher Hogwood.
      UK-3

      Beautiful

      This film was great. Even if the singing looked a little fake at times, and there was a bit too much sex than was really necessary, but a great film, with beautiful music. I thought more emphasis would have been put upon the anguish and degradation Farinelli might have felt, and more stress on the love/hate relationship the public had with the castrati, but definitely a film worth seeing.
      8lthseldy1

      Very well done and worth watching

      This movie is about Farinelli, one of the famous Castro Singers during the 18th century. He had the voice of an angel when he was a boy and since his family was very poor, an operation of castration was done to him in order to preserve his voice and help his family out in poverty. There were some strange parts during this film such as when he got older he and his brother Riccardo traveled together and never left each other. His brother was there during Farinelli's lovemaking in order to complete and finish the task that his brother could not do since he had been castrated. And then there was the white horses that Farinelli saw every time danger was present or near. This warning was not clearly explained in the film. The acting was very good. I enjoyed the variation of languages of French and Italian with a little bit of English thrown in. The costumes were excilent and the way the actors portrayed the characters during that past time period were done good. One makes you feel sorry for Farinelli because of what he did lack and also makes you feel for him because everybody would make a specticle of him because of his castration and the fact that he could not complete the task of lovemaking (personally..... I do not think that he really needed that, he was good being his own person anyway). Farinelli's popularity had worn down during the middle of his career due to his excessive use of opium in which his brother provided for him in order for him to sleep and get rid of any pain or stress. During the end of the movie we find that it is Riccardo that turned his little brother in because of his ability to sing and thus help his poor familiy. Not much is mentioned of his familiy but in the beginnig of the movie we do know that his family was poor and Farinelli offered himself as well as his voice because his voice was all that he did have in order to stay alive. This movie was a good film and I give it about a 7. There were several parts in the film that were not clearly explained and that was the only flaw.
      alsihler

      Good yarn, great music, rotten history

      Farinelli is not nearly as awful as I feared it would be. It's similar in many ways to Amadeus. Like Amadeus, it has glorious music beautifully performed. Like Amadeus, it tells a good (if melodramatic) story. Like Amadeus, it has a marvelous period feel. Like Amadeus, the characters in this story have the names and occupations of real people, but their portrayal on the screen is not even caricature: a caricature necessarily starts with something recognizeable.

      Farinelli was famous in history not merely for a phenomenal voice and outstanding musicianship and musical connoisseurship, but for poise, dignity, and perfect-pitch judgement of human character; he is portrayed throughout as a hysteric. Handel is shown as a pompous, bullying nervous wreck verging on the psychotic, quite at variance with all reliable accounts of his humor, sturdiness, practicality, and reputation for scrupulous probity toward his musicians and singers.

      Handel could not have said, to Farinelli, during the latter's first sensational season with the Opera of the Nobility, that he would never write another opera, and not just because Handel was no faux-Freudian opera queen: Lady History inconveniently discloses that after that 1733-34 season Handel composed and presented Ariodante, Alcina, Atalanta, Giustino, Arminio, Berenice, Faramondo, Serse, and Imeneo; his last opera, Deidamia, went unperformed, but several in that list were significant successes, and some were revived more than once.

      The two rival opera companies in London went down the drain more or less simultaneously, notwithstanding the enormous draw of Farinelli for the Nobility company, and notwithstanding the high quality of the music of its principal composers (Porpora, Hasse, undervalued today) and the stupendous quality of Handel's music (also undervalued); rather, the people with the money to afford the (by our standards) enormous ticket prices had simply lost interest.

      One commentator here is skeptical about many "period" details. And rightly: for starters, that's not the way boys were castrated, but you don't need to know the truth. Relax, just enjoy the music and the costumes and the actors chewing the scenery.
      7Angeneer

      Castrated story but enjoyable

      I think some long periods of Farinelli's life are left out. The film is too focused on his love life, making it definitely a female movie. There were a lot of other aspects to explore. We also get to see the obligatory scenes of audiences being mesmerized by opera, as if they were some island natives and not opera house regulars. Nevertheless, being a high budget movie, it has great costumes and beautiful scenery. Most of all you get the chance to explore the divine music of Haendel.

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      Histoire

      Modifier

      Le saviez-vous

      Modifier
      • Anecdotes
        Both male and female voices were combined to create the sound of Farinelli's singing voice. The male voice was Derek Lee Ragin, a British countertenor and the female Ewa Malas-Godlewska, a Polish mezzo-soprano.
      • Gaffes
        LIGHTING. In scenes that show stage lights and chandeliers, the focus on them is softened, but it can still be seen that the "lamps" and "candles" are in fact far too steady, and too smokeless, to be or to contain live flame. Gaslight was not brought into theatres until just after 1800 (in England), and limelight -- with real quicklime -- around 1820. Also, some outdoor lighting -- outside palaces, etc. -- is obviously too bright, blue- or green-shaded, smokeless, and sharp-edged to come from a bonfire.
      • Citations

        Carlo Broschi: I admire your nerve, madame, in daring to defy Handel.

        Countess Mauer: Women are very strong, signor Farinelli. Men's weaknesses make it necessary.

      • Connexions
        Featured in The 52nd Annual Golden Globe Awards (1995)
      • Bandes originales
        Ombra fedele anch'io
        [Dario's Solo: Act II, Scene XI, from Opera "Idaspe"]

        Composed by Riccardo Broschi, Libretto by G.P. Candi and Domenico Lalli (1730, Venice)

        Vocals performed by Ewa Malas-Godlewska (Soprano) and Derek Lee Ragin (Countertenor)

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      FAQ20

      • How long is Farinelli?Alimenté par Alexa

      Détails

      Modifier
      • Date de sortie
        • 7 décembre 1994 (France)
      • Pays d’origine
        • France
        • Italie
        • Belgique
        • Royaume-Uni
      • Site officiel
        • Sony Pictures Classics
      • Langues
        • Français
        • Italien
      • Aussi connu sous le nom de
        • 絕代艷姬
      • Lieux de tournage
        • Espagne
      • Sociétés de production
        • Stéphan Films
        • MG
        • Italian International Film
      • Voir plus de crédits d'entreprise sur IMDbPro

      Box-office

      Modifier
      • Montant brut aux États-Unis et au Canada
        • 1 573 411 $US
      • Montant brut mondial
        • 1 600 226 $US
      Voir les infos détaillées du box-office sur IMDbPro

      Spécifications techniques

      Modifier
      • Durée
        1 heure 51 minutes
      • Couleur
        • Color
      • Mixage
        • Dolby
        • Dolby SR
      • Rapport de forme
        • 1.85 : 1

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