Mozart, Nozze and more

Photo Clive Barda from Opera Britannia

I’ve had a very slow start into the new season, more miss than hit, and since it is going to be quiet for a little while longer I decided it is never too late to talk about the old season after all. And don’t fret too much about the new one, it is not like I am in a state of abstinence from music ;-) But I have had a busy summer and am not going to be much around London unfortunately all the way until Christmas, so I catch what I can. Or remember what I saw and heard.

Because I probably have some organisation and categorisation complex ( too much report writing! P*ke!) I feel the need to assign categories to memories as well. I mean I think back of the last season and I feel I have done 10 in one. I’ve experienced, learned, heard and felt more in the last season than ever before in my life in such a short period of time. I am enjoying a bit of temporary peace because I actually feel like sitting back and smiling with a weird sense of accomplishment.. I have done all that and been there!! I did feel at times almost like I was being bulldozered over. And I was afraid of forgetting things, of not taking them in fully, or overloading senses and breaking some kind of barriers in experience which would never allow me to go on and enjoy normal things. I mean this was my musical season 2009-2010 in no particular order of importance:

- My first ever Tristan and Isolde live with Stemme, Heppener and Pappano ( I’ve had one more of that since…);
- My first ever Werther live (yes, the Paris one with Plasson and the bunch) and I still feel I’ve had far too little of that one!
- My first time seeing and hearing Abbado conduct live – Fidelio in Luzern .. really O namenlose Freude!
- My first time ever (I know, I know….) seeing and hearing Placido Domingo live!!!!!!! and sounding just like on the shelves of CDs back home…
- Don Carlo at the ROH!! Yes, that one, every single bit of it!
- Meistersinger- the longest love at first sight in history! And it was Bryn’s first Sachs :-) and this was also my first time at the Proms;
- My first time hearing Matthias Goerne live :-) surprisingly, I can like Schubert after all;
- Jonas sang his first and my first Wintersturme live in Dusseldorf and I was there;
- Simon Keenlyside sung his first Rigoletto in Cardiff ( I love the WMC!);
- Celebrating b-day with Requiem at la Scala, weird, still love and hate the place, but Verdi would love how they play his music :-);
- My first Konigskinder/Humperdinck live and please please please don’t let these be the last!!!!
- Pappano does Boccanegra ( I know it’s kind of twice on the list but believe me this score never sounded so good!) and THIS IS VERDI!
- The Weimar Voices LA at King’s place – I adored those Lieder!
- Fille du regiment at ROH with Natalie and Juandi – he is JDF!! And she is even more fantastic than I imagined!
- Mozart rocks!!!!! Cosi, Turco and Nozze with Schrott and Kwiecien at ROH!
- I want to be a kid in school in music class and Pappano to be the teacher.. Operaitalia!!! Or just one more reason to love Tony :-)
- My first Salzburg festival and it turns out I like it, hope to do this again some time :-)
- Mariss Jansons and Shostakovich 4th at the RFH, what a buzz!
- Jonas sings Kindertotenlieder in Munich (you can cherish and connect even with things that scare you profoundly….. )
- Lohengrin love story still going strong, it’s something different when it is from Bayreuth;
- Old tales in new frocks, Aida and Manon get a make over at the ROH and not surprisingly I disagree with most people on both by liking the Aida production and most of the musical bits of it as well and not being that bowled over like most with the Manon;
- And in all this confusion of new things the comfort of oldies, but goldies! More Carmen and Tosca! I’ve lost count of how many, but every time I think “ok, enough of these” I end up sitting and listening at 3am to some radio broadcast ;-)

But It’s not all been glory, I missed the Requiem at Pleyel, which I always wanted to go to because Dinu Lipatti played there, I missed Abbado in Berlin with the Rinaldo, I missed the Carmen at la Scala and most of all I missed Lohengrin in Bayreuth…
Maybe one is just not meant to be indulging quite so much :-)

In any case, closing the season with Mozart was wonderful. His work is full of conflicts, but human ones, every day life stuff, good and bad and loads of humour, irony. Coupled with his music it always gives me peace and balance and also a positive feeling about music and life in general :-)

So, although months have passed, I still want to remember this Nozze I saw at the ROH, two performances of it, and I would have loved to see more! I was lucky to catch both conductors and both countesses.

I can’t imagine a better match between Mozart’s domestic tangles story and David McVicar’s production! It’s not a big secret that I quite a fan of his work. I really think he can make a good actor out of any singer. And he managed to make the productions modern without taking the illusion away. I mean I like to connect with the stories and the people, I don’t necessarily look for fairy-tale pretty on stage, but I’d rather not have CNN/policy report on stage if you know what I mean :-) You can be real without being necessarily and purposefully depressive or ugly. With McVicar I never have the feeling of looking into a fake world or where things are on display on a stage, on the contrary, you have a feeling of intimacy, of actually observing a slice of real life, with real people going about their business. Of course this implies work of extreme detail, but it is not the kind of stage-crowding detail, but rather the character detail you otherwise rarely get to experience in an opera.

And he couldn’t have found better singers /actors to fit into the production. It has been already written several times what kind of a great pairing of voices and characters Schrott and Kwiecien made! Vocally and in stage presence they commended attention as soon as one of them was in front of you and they made for strong and quirky Figaro and count. Each so in character and at the same time negotiating the score with such easy it makes one envious! Had I not heard them live I would have probably not believed had anyone told me what a good fit Mozart is vocally for both! Mariusz elegance and agility is formidable and I hope he will continue singing Mozart for a while! Schrott has a full and distinctive voice and one would not think Mozart would be his thing, but it so is! And the way he drops from singing into speech and back is amazing indeed. He made not be as convincing musically with other composers, or not yet, but he is very very good in Mozart!

And I am so looking forward to both of them coming back to the ROH to do Don Giovanni :-)

Eri Nakamura held her own as Susanna and it was funny how her petite self managed as much charisma on stage as to convincingly wind Figaro around her little finger as appropriate :-)
On the countesses I was more split, those extra long arias Mozart tends to write for sopranos usually grind down my patience… that is until you discover somebody who tells the story and is a good enough singer to make you forget about the thrills and ups and downs. And Soile Isokoski is one such wonderful lady! I’ve not heard a countess live to charm me like she did and to make “Dove sono” into something soooo beautiful! I really hope I get to hear her again sometime soon.
Annette Dasch probably was coming down with a cold or something while she sang at the ROH and I was very pleasantly surprised at her Elsa from Bayreuth. I am glad she sounded better and sang better than I heard her in the Nozze :-)

The entire cast in fact made the evenings complete and musically it was on both evenings a well rounded experience, with my personal preference in terms of conducting tending towards David Syrus more alert and perky version. I’m afraid I don’t like my Mozart quite as placid as Colin Davis did it the evening I went to ;-)

Nozze ROH 2010
Conductor Colin Davis/David Syrus
Figaro Erwin Schrott
Susanna Eri Nakamura
Count Almaviva Mariusz Kwiecien
Countess Almaviva Annette Dasch/Soile Isokoski
Cherubino Jurgita Adamonyte
Bartolo Robert Lloyd
Basilio Peter Hoare
Don Curzio Christopher Gillett
Marcellina Marie McLaughlin
Barbarina Amanda Forsythe
Antonio Nicholas Folwell

The start of the new season with Mozart was not quite as good as the Nozze which ended it. Probably in part because we just had Cosi not many months ago,. But also because with good singing alone this opera can become easily boring of the characters don’t have their own personalities to entertain us with. And I couldn’t help sitting though it and thinking how much more fun the cast in the previous season had been… Maybe sometimes revivals shouldn’t follow each other that closely.
But lucky for me I have some more Nozze to enjoy, thanks to the wonderful production in Paris just a few days ago broadcasted on F3:
Mozart's LE NOZZE DI FIGARO
Filmed at the Opera national de Paris (Bastille)
Philippe Jordan (Cond.)
Giorgio Strehler (Stage & lights)
Ludovic Tezier : Il Conte di Almaviva
Barbara Frittoli : La Contessa di Almaviva
Ekaterina Siurina : Susanna
Luca Pisaroni : Figaro
Karine Deshayes : Cherubino
Ann Murray : Marcellina
Robert Lloyd : Bartolo
Robin Leggate : Don Basilio
Antoine Normand : Don Curzio
Maria Virginia Savastano : Barbarina
Christian Treguier : Antonio

So I am looking forward to sitting down and watching this during the coming days, I have a feeling it is going to be quite the treat ;-), which I have every reason to enjoy, especially this week.

Liceu Carmen with Alagna, Uria-Monzon, Poplavskaya and Schrott

Photo via http://www.musicweb-international.com/ Liceu, Antoni Bofill

Most importantly and before i say anything else :
Muchisisismas gracias a todos los amigos de Barcelona! Por la cálida acogida, por la ayuda con las entradas, por los cafés y las charlas, por la riquísima comida, por la agradable compañía. Por hacerme sentir como en casa, solo que a temperaturas más agradables ;-) Por hacer que la visita a Barcelona me sepa a demasiado corto, por dejarme con tantas ganas de volver lo más pronto posible.
Cruzo dedos y espero de todo corazón que la ocasión que todos deseamos venga rapidoooooo para poder compartirla con vosotros en el Liceu.
Molts petonets!!!!!! *

Y ahora con la Carmen….

I started this opera season a bit later and somewhere else tan expected. Turns out the first full opera production I got to see this season was the Carmen at the Liceu in Barcelona. Terrific choice as it turned out! And definitely more than just another Carmen.

It was an evening full of good surprises. Starting with the fact that the Liceu is likely to become one of my favourite venues. Based on recent experiences I didn’t expect a theatre that looked old to be so comfortable. Fact is of course the Liceu has been recently rebuilt from scratch after a fire destroyed the theatre. So it looks lush but is full of modern comfort and service. From the many elevators, the back-hugging seats, the pleasant temperature ( no boiling or freezing!!! Didn’t think that existed in an opera house…) , the modern café, the un-crowded and elegant toilets (yes, no mile-long cue at the ladies, fancy that! You actually have time for a chat in the interval!! ), the spacious shop (1+ on the ROH on that one) this place makes you feel welcome every step of the way. And so does the cheery and pleasant staff (equally as nice as the ROH one and it is the only place I have been able to say that so far) . And let me tell you about the acoustics!!!!!! Gorgeous!!!!!! No ceilings too low to cover the sound and in spite of being a 2300 seats house it is quite tightly packed around the stage so that the sound feels like almost coming from the centre of it.

Old world charm with today’s comfort, I felt spoiled!!! And I’ll look forward to treat myself again :-) By the way, the Liceu also sports a nice “choose your own place” internet selling system. Disadvantage is however that the whole season comes on sale at once; but it is one of those places where as a foreign traveller you have good access to, a sales system you can handle and where you can chose you rapport price-seat. Definitely a place to visit. Literally as well, apparently the tours are good and very interesting, it’s on my to-do list for next time. Among others I’d like to see if backstage or rather behind the curtain it is as well organised as in the hall :-)

This Carmen was different in more ways than one. For example, it is definitely something different to see a Carmen in Spain, directed by a Spanish director. So many Carmens dish up some kind of fake Spain that just feels kitschy. This wasn’t it, although it was as full of toreros and bulls as you could want it ;-) But not all bulls and toreros are the same. It’s an updated, profoundly authentic Spanish Carmen, just that it is sung in French :-) There are slight changes which might bother some, like for example they swiped almost all recitatives out and there is “a dos cuartos” in the chorus in the last act. But what it had lost in potentially badly spoken French dialogues it gained in fluency and tension. Don’t get me wrong, there are full extended versions I love, but in this case it worked better with the cuts.

There were cars on stage, big wooden bulls dominating dusty planes (loved the way light swathes of smoke blown on stage suggested the dust being kicked up by the singers’ steps ), chalk circles delimiting the arena , a flag pole, a telephone box and little else. Physically at least, but there was so much more added through lighting! It is one of the shows that I have seen where lighting stands out by a mile, effective, clear, highly natural and very creative. Shadows and light filled the space in amazing ways, reducing or expanding it according to the scene. It really can’t be described, it has to be seen (only one of the many reasons to buy a ticket for tomorrow’s cinema broadcast if you can go) .

It is also one of the few times I can remember sitting for 3 hours in an opera and feeling as if I am watching a movie. I keep coming back to the word natural, but that is how it was. No stop and go, seamless transition and most of all, development. Of course the director got lucky with this cast as well, as they are all willing and able to step into their characters. But there is great acting from the chorus as well! The fight of the cigarette factory workers was choreographed but real. There was enough violence to transmit the conflict and kudos for the chorus members carrying away their colleagues on their backs, in their arms, while being kicked and pulled at :-) I had to remember the similar scene in the Scala Carmen last December and the effect couldn’t be more different, one over-doing it and taking the scene practically out of the opera, the other adding the natural touch effectively.

I might not fully agree with all character portrayal choices, but some I thought were spot on. Most of all I liked Micaela! This one finally gets a personality, or is allowed to show one, from the fun-loving, camera carrying visitor to Jose’s regiment to the gutsy young women definitely pushing Jose out of the smuggler camp, rather than begging him to go. Just because Jose is not on love with her, doesn’t mean Micaela can’t be a women in her own right :-) And the youthful fun of her first encounter with Jose also worked well in the context and became an up to date, modern version of a relationship of childhood friends (she steals his cap and they take funny pictures of themselves:-)).

What I didn’t quite get was the second act where the tavern scene is replaced by a scene with just the 5 smugglers around a car at night in the fields. It works in context, but the absence mostly during the scene of larger groups of people made the intimacy of Carmen and Jose’s encounter a bit less poignant. You just don’t get that hard sudden shift from euphoria and loud noise to the heightened tension of the scene between just the two of them. Instead you get a kind of continuity of behaviour, with Jose and Carmen frolicking around just like the smuggler group right before. Which kind of makes their relationship less different from the others, as he already behaves just like them. Even when the smugglers come back to stop the fight with Zuniga, the girls calm Jose’s anger as if he were one of them. There is also much less hesitation in Jose’s action, he is neither as reluctant to fall in Carmen’s arms nor as reluctant to push her away twice. Generally it’s a case where the relationship with Carmen forms with more ease and less inner turmoil, as if they would belong together. This however makes the conclusion of the story more dangerous, violent, because as differences are not as obvious in the beginning you build a false sense of possible reconciliation and you never get a sense of real danger until it is too late. It’s made a slightly different take, but it works very well. You basically get lulled in watching the movie of the smuggler life unfold, almost like a documentary and then it literally accelerates into the precipice.

Other scenes were also altered from the usual context with striking impact. Escamillo and Carmen’s short last dialogue is not carried out amongst the masses but in a darkened arena, with a spot light on just the two of them, Escamillo down on one knee preparing for the fight. A moment taken from display to intimacy in a very simple way, but which conveys the intensity of the relationship perfectly.

Then there is the use of the cars! In getting rid of Zuniga (will not give details, don’t want to ruin the fun for people watching in the cinemas ;-)), in jumping up, down and around them during the fight between Jose and Escamillo ( Erwin and Roberto get definite brownie points for the enthusiastic workout!), in having Carmen slither along it to entertain Jose, etc :-)

There are the props that you don’t find in any libretto, like the phone booth or the flag pole, the wooden bull advert, etc. All not indispensable, but definitely entertaining and making the story more real visually. From the factory workers fighting over the first phone call to the soldier practicing to become a torero in the empty night field, they all add colour to the story.

Luckily, this was by far not all!!! With the story came the music and the singing!

What a great night for the chorus, including the girls chorus who represented the kids on stage. The slightly crescendo chorus before the exit of the factory workers into the square was one of the most beautiful I have heard in a while. The have good voices and were spot on and alive all throughout, at no point did they let the tension slip or slow and quite a pleasure to hear the chorus kick up some volume without sounding screechy at all, on the contrary, they sounded warm and full all the way, bravi!!! And bravi also for the committed acting from every single one of them.

Erwin Schrott was announced with laryngitis ( oh yes, we did have that “can we have your attention please – moment, where I couldn’t help but thinking, oh, no, what nooooooowww???!!!!”) but decided to soldier on. Hope he didn’t fall flat tired afterwards, he definitely threw himself into it. Good thing is after the aria, which comes first the rest is as much about acting as about singing. He sounded more comfortable with it than I heard him on TV from Scala, good for him! It’s not the same as the way he absolutely dominates his Mozart roles, but it works. And he is probably unbeatable at suggesting quite the right amount of assuredness, macho air, charm and irony to attract a Carmen and enrage Jose. With the dark suit and hat I couldn’t help but think of his upcoming tango CD. But then again, there is so much about torero movements that comes close to the elegance of tango dancing, so the comparison and similarity works when played out in Escamillo. The French probably needs some more work though :-)

Photo Liceu, Antoni Boffil

And finally in Marina Poplavskaya I found a Micaela to stand up for herself and from the crowd. Yes the character had personality, but so does she. Really refreshing, a Micaela who acted differently from what you expected and which drew your attention to her. And sung gorgeously! It just is the right package, the personality is reflected in the voice and vice versa. The duet with Alagna in the first act which I had been looking forward to proved to be all I expected and more. They both have very characteristic and individual colours of voice and her darker and his lighter version produced a really unique sounding duo, which they matched with perfectly intertwined piani. It definitely is one of the most interesting and beautiful versions of this duet I ever heard. And atypical in many ways, less remote and lost in thought, more emotional and engaged with each other, perfectly mirrored in their voices. Probably my favourite musical moment of the night.

Same kind of more urgent tone in their interaction and in her aria in the 3rd act. Fearless and decided (de armas tomar la Micaela esta ;-))). Well done Marina for giving power to Micaela. The public reaction also showed that she made her character much more likeable, including vocally.
I had heard quite a bit of quibbles about Uria Monzon’s Carmen, but I found she warmed up nicely after the Habanera. She is no longer as even and as in control of her instrument as she might have been maybe some year ago, but her Carmen is still a good option. She gives a convincing portrayal, although for some reason not really engaging enough for you to sympathise with her. She doesn’t quite build the necessary tension in her relationship with Alagna’s Jose and this unfortunately fails to make her his equal in this Carmen. It’s a pity because this is called Carmen after all and she should be more of a centre of attention. With everyone else around bringing an extra something to the role, musically and in character, her otherwise good Carmen doesn’t quite shine as bright, as much as I wish I could say otherwise.

And yet again I bumped into a Carmen where the Jose outshines his Carmen (ladies, you need to start standing up to these guys! ;-)) Whatever Roberto has been doing lately or not doing, he should keep at it :-) I’ve liked him for many years now, but I have to join the chorus and say: Roberto, you sound gorgeous! And I mean it in an absolutely positive way when I say like 10 years ago! In comparison to his ROH Jose this was from a different place. He was comfortable all the way and stayed away from the dramatic edge up until the end, where it came with force and energy, and for that all the more effective. And this way we got to enjoy that which Roberto does best, sing sing sing, which ease, warmth, lyricism and in those mezza voce tones which are his alone. And they are now as brilliant and as fresh as one can almost not hope to hear them again after quite a few number of years of career, but there they were. (Honestly, if I could have, I would have begged him to sing one more Romeo now, for all of us who would love to hear it again from him… ) In any case, considering that I have heard his Jose a number of times this year, this was by far, far the best of them and centred in that place where he is best and where we all love him to be. And he was jumping on cars, and fighting with Schrott and pulling Carmen around and slashing her throat… chilling. I though the idea of Jose slowly pulling Carmen’s inert body towards him in the centre of the area was the most beautiful picture for the ending.

There is no doubt about the fact that he was the star of the show, as we all in the public agreed and took pleasure in showing :-) I’ ve never seen him do anything else then give it his all on stage and when it works out this well, all the more reason to celebrate, as he is truly amazing.
All would have not been as well rounded without a great night from the orchestra and all other members of the cast. And a conductor that stayed away from kitsch in the pit as well and drove proceedings with conviction and energy. The cellist alone could have made my day with his solo! I know locals have complained about their orchestra sometimes, but they were in great form the other night!

And by the way, the undoubtedly talented and knowledgeable director is a guy who goes by the name of Calixto Bieito. Someone who as far as I was able to see, in spite of general opinion, is not at all out for gratuitous provocation, who I am sure doesn’t always produce things that one can relate to or agree with, but who obviously knows a lot about storytelling and also knows how to inspire others to become storytellers themselves. We shall see about other productions, but for this Carmen, very well done indeed! And special thanks to his team for creating costumes that fit the story and complimented the singers and for that impressive light work!

If you can, go to see this at the cinema on the 13th!

9 October 2010 - Carmen Liceu

Conductor Marc Piollet
Stage direction Calixto Bieito
Scenography Alfons Flores
Costumes Mercè Paloma
Lighting Xavier Clot
New co-productionGran Teatre del Liceu / Teatro Massimo (Palermo) / Teatro Reggio (Torí)
Cast
Carmen Béatrice Uria-Monzon
Don José Roberto Alagna
Micaela Marina Poplavskaya
Escamillo Erwin Schrott
Frasquita Eliana Bayón
Mercédès Itxaro Mentxaka
Le Dancaire Marc Canturri
Le Remendado Francisco Vas
Moralès Alex Sanmartí
Zuñiga Josep Ribot
Symphony Orchestra and Chorus of the Gran Teatre del Liceu
Cor Vivaldi-Petits Cantors de Catalunya

Carmen La Scala ..almost there to your Radio, TV or cinema :-)

On TV : Classica in Italy live (from 17,30 CET time) and for the rest of Europe Arte with a small delay (from 20,45 CET time)
On Arte you can also see a video Interview with Emma Dante and read interviews with JK and Erwin Schrott HERE

On Radio: on Rai3 you can stream it live by clicking here (Real Player needed) Though from experience they don't have the best of streams or recordings...
Good alternative:

BR Klassik which you can listen to by clicking here or opening this shortcut link from your Windows media player. (According to their program information they will air an interview with Jonas Kaufmann in the 1st interval)

And some last minute press:-)

7th December:

La Stampa interview Barenboim
La Stampa aricle on the opera and Bizet
El pais interview Barenboim

6th December

Corriere della sera article with interview with Anita R and JK
Two articles from Il Giornale : one on Jonas and the other on Anita and the anteprima
La Stampa on the anteprima, funny and interesting article, in spite of the ironic tone i couldn't agree more with the author on the importance of attracting fresh audience to the opera :-)

So before the hall fills up with people let's all wish them In boca al lupo!!!

Carmen La Scala amuse-bouches

Update article Il Giornale here about the past and the present. Lucky young audience will see today the ante-prima :-)




All images copyright Teatro alla Scala from a theatre handout

Conductor Daniel Barenboim
Staging and Costumes Emma Dante
Sets Richard Peduzzi
Lights Dominique Bruguière

Cast
Carmen Anita Rachvelishvili
Don José Jonas Kaufmann
Escamillo Erwin Schrott
Micaëla Adriana Damato
Mercédès Adriana Kučerová
Frasquita Michèle Losier
Le Dancaïre Francis Dudziak
Le Remendado Rodolphe Briand
Moralès Mathias Hausmann
Zuniga Gabor Bretz

As most of you already know the premiere is on the 7th of December and many lucky ones will be able to watch it live in the cinemas (some over 200 of them world wide in some 25 countries, plus everyone who is ale to receive ARTE TV).
There is an amazing degree of media attention in the Italian press, but not only :-) So here are some bits and bos for you, all in Italiano :-)

Interview Jonas Kaufmann

Interview Anita Rachvelishvili

Interview Erwin Schrott

Interview Emma Dante

And HERE on Sky Italia a short video interview with all of the above, Sky Italia will also air the premiere live on TV.

And you can google.it for much much much more...

Then there are of course the photos :-) Enjoy!

First, the models of the stageing




Then ... Jose meets Carmen...
And she throws him La fleur....


Si tu ne m'aimes pas, je t'aime; Si je t'aime, Prends garde à toi!


Parle-moi de ma mère! (photo from Reuters)



La taverne de Lillas Pastia


Then there was Escamillo ... Et que l'amour t'attend. Toréador, l'amour, l'amour t'attend


La raison c'est qu'en ce moment ...

.....Je suis amoureuse.

et voila... le Dragon :-)
Je vais danser en votre honneur Et vous verrez, seigneur, Comment je sais moi-même accompagner ma danse, Mettez-vous là, Don José, je commence. La la la la la la la la la la la la …


JOSÉ violemment: Tu m'entendras! Oui, tu m'entendras! Je le veux, Carmen, tu m'entendras!


Pour t'emparer de tout mon être, Ô ma Carmen. Et j'étais une chose à toi. Carmen, je t'aime!

Mais..
Le ciel ouvert, la vie errante, Pour pays tout l'univers Pour loi ta volonté, Et surtout la chose enivrante: La liberté! La liberté!


And the last ones (finally an Escamillo to put the right balance to Jonas' Jose :-)!)
..A ce jeu de couteau /Je suis trop fort pour toi. ... Tout beau. Ta vie est à moi, mais en somme J'ai pour métier de frapper le taureau, Non de trouer le cour de l'homme...



And because at the end of the day it is all about the music, let's indulge! I know you all want to hear this :-))))



Thanks for the video leonorafl