Farinelli
Regie:
Gérard CorbiauKamera:
Walther Vanden EndeBesetzung:
Stefano Dionisi, Enrico Lo Verso, Elsa Zylberstein, Caroline Cellier, Marianne Basler, Jacques Boudet, Pier Paolo Capponi, Delphine Zentout (mehr)Streaming (1)
Inhalte(1)
Carlo Broschi – besser bekannt unter seinem Künstlernamen Farinelli – war eine Kultfigur des 18. Jahrhunderts. Schon als kleiner Junge waren seine Stimme und sein musikalisches Gespür auffallend, so umfasste sein Stimmumfang mehr als dreieinhalb Oktaven. Im Alter von zehn Jahren wurde er kastriert, um ihm diese Fähigkeit auch im Mannesalter zu erhalten. Farinelli wurde berühmt und machte Karriere auf internationalen Opernbühnen. Das Publikum vergötterte ihn, und die Frauen lagen ihm zu Füßen. Der Film zeigt dies in einer tiefen, bewegenden Liebesgeschichte. Auch die schicksalhafte Verbindung zu seinem Bruder, der für ihn Arien komponierte und sein Leben in symbiotischer Form ergänzte sowie die dramatische Begegnung mit Georg Friedrich Händel, dessen Musik Farinelli liebte, werden dargestellt. (Verleiher-Text)
(mehr)Kritiken (3)
Farinelli was a real historical figure, a singer who had been castrated, giving his voice a colour that men are otherwise incapable of. A singer whose performances made women swoon. An extraordinary voice and an extraordinary costume drama that can only be recommended. By the way, Farinelli's voice in the film was created by digitally mixing a female and a male operatic voice to achieve the desired result.
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“Without him you nothing but... silence." Brotherly love preventing the unleashing of exceptional talent. Unrecognized genius, Georg Friedrich Händel, knows the situation well. That’s right, this has very little to do with reality. Probably about as much as Forman’s adaptation of Mozart’s life and times. Which changes nothing about the cinematic qualities of Farinelli. But this entire picture suffers rather in the shadow of Amadeus. Although Farinelli was made ten years later, it has the same template. And it still works outstandingly. Just on a slightly lower level. The reason for this is neither the screenplay, nor the actors nor production design and certainly not the music, but simply the absence of unforgettable scenes. It is “only" darn good, but it would have to be unforgettable to be an exceptional work.
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I have to admit that I enjoyed Corbiau's film The King Is Dancing a lot more, both in terms of my tastes and mood. While Farinelli is able to offer the elegance of aristocrats in period costumes, the baroque splendor of palaces, and the luxury of residences from that time, it somehow fails to offer a captivating story worthy of Forman's Amadeus. It's more of a case of aesthetic boredom that longs for some festival excitement. Fans of classical music and opera singing may give it an extra star, but I must once again mention Amadeus which managed to present classical music to today's audience much more effectively. Overall impression: 50%.
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