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Il Grande Inquisitor
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« Reply #135 on: 13:21:57, 29-05-2007 » |
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I think they're both good - Ory has more of a plot, of course, but the staging in this Barcelone Viaggio was very funny. I'm part way through watching 'La Gazzetta' which also has some good music (Rossini later used the overture for La Cenerentola) and fizzes along - lots of dance choreography going on. On Saturday evening, we were treated to the ROH's double bill of L'Heure espagnole and Gianni Schicchi. Stephanie Hughes mentioned that, many years in the past, L'Heure was once partnered at Covent Garden with Salome!  What pairings have worked particularly well together? What other 'unusual' pairings have there been? |
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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
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Parsifal1882
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« Reply #136 on: 13:35:12, 29-05-2007 » |
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ELEKTRA and L'ENFANT?  ORY is my favourite Rossini opera in French, VIAGGIO my favourite Rossini in Italian!  |
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Il duolo della terra nel chiostro ancor ci segue, solo del cor la guerra in ciel si calmera! E la voce di Carlo! E Carlo Quinto! Mio padre! O ciel!
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Parsifal1882
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« Reply #137 on: 13:40:53, 29-05-2007 » |
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Has anyone been lucky to have seen VIAGGIO live? (I only managed four  performances of Glyndebourne's ORY ('97-98).) I have the two Abbado recordings (DG and Sony): any more recommendations? Thanks, IGI, for mentioning the DVD, and I've now discovered another DVD of the opera: does the one you saw have an updated setting? |
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Il duolo della terra nel chiostro ancor ci segue, solo del cor la guerra in ciel si calmera! E la voce di Carlo! E Carlo Quinto! Mio padre! O ciel!
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Il Grande Inquisitor
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« Reply #138 on: 13:47:26, 29-05-2007 » |
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The Viaggio I saw was from Barcelona a few years back and is reasonably 'in period' - there was a swimming pool at the back of the stage (well, it is a spa town!) and the conductor, Jesus Lopez-Cobos, emerged from the wings in giant towelling dressing gown and entered the pit down a swimming pool-type ladder! All good fun. In the first act, many of the guests wear these towelling gowns in designs matching their countries' flags. Enzo Dara, as the German baron (as he is on both Abbado recordings), is particularly funny. http://www.amazon.co.uk/Gioachino-Rossini-Viaggio-Teatre-Barcelona/dp/B0002J9TWO/ref=sr_1_3/202-5913406-5145461?ie=UTF8&s=dvd&qid=1180442541&sr=1-3 |
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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
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Parsifal1882
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« Reply #139 on: 13:52:53, 29-05-2007 » |
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Thanks, IGI. It turns out that the other VIAGGIO DVD is also an updated performance (Chatelet/Mariinsky), and conducted by (prepare yourself for a shock) Gergiev!
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Il duolo della terra nel chiostro ancor ci segue, solo del cor la guerra in ciel si calmera! E la voce di Carlo! E Carlo Quinto! Mio padre! O ciel!
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Il Grande Inquisitor
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« Reply #140 on: 22:42:47, 29-05-2007 » |
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Now I can't imagine Gergiev doing Rossinian comedy!
Just finished watching La Gazzetta - one for the wish list, I think. Lots of silliness, including a duel scene with swords, pistols and bombs(!) and a scene where everyone's dressed up as Turks. There's a cracking little aria for baritone with coloratura and patter aplenty. The buffo bass Bruno Pratico does a good job as the ridiculous Don Pomponio and there are many fine ensembles. OK, it's not Il Barbiere, which also flopped at its first performance, but it's worth an outing.
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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
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Don Basilio
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« Reply #141 on: 15:05:51, 30-05-2007 » |
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I think you need a Rossini thread. I've started one.
Now, any more stimulating questions? Can we suggest (serious) and original pairings of one act operas. Mine would be Blow's Venus and Adonis followed by Purcell's Dido and Aeneas
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To every thing there is a season, and a time to every purpose under heaven.
A time to weep, and a time to laugh: a time to mourn, and a time to dance
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Parsifal1882
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« Reply #142 on: 15:24:06, 30-05-2007 » |
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My one-act-opera-pair dream is RHEINGOLD and CAPRICCIO |
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Il duolo della terra nel chiostro ancor ci segue, solo del cor la guerra in ciel si calmera! E la voce di Carlo! E Carlo Quinto! Mio padre! O ciel!
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Il Grande Inquisitor
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« Reply #143 on: 15:26:24, 30-05-2007 » |
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Now that's a long night at the opera! |
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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
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Il Grande Inquisitor
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« Reply #144 on: 15:35:38, 30-05-2007 » |
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How about a triple bill?
Cimarosa - Il maestro di cappella
Mozart - Der Schauspieldirektor
Rimsky-Korsakov - Mozart and Salieri
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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
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Parsifal1882
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« Reply #145 on: 15:37:38, 30-05-2007 » |
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Lovely! Or possibly a short Salieri (if any) in place of the Cimarosa  |
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Il duolo della terra nel chiostro ancor ci segue, solo del cor la guerra in ciel si calmera! E la voce di Carlo! E Carlo Quinto! Mio padre! O ciel!
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Reiner Torheit
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« Reply #146 on: 18:05:26, 30-05-2007 » |
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Or possibly a short Salieri (if any) in place of the Cimarosa Ah, well that's easy... you just go back to the Schauspieldirektor's original double-bill partner, which was Salieri's "Prima la Musica - poi le parole", which was the original first half of the entertainment in which Schauspieldirektor appeared. Nancy Storace appeared in the female lead in the Salieri  Another "authentic pair" of one-act operas is Menotti's THE TELEPHONE with THE MEDIUM (written to be performed as a pair). But you can change this, and a nice pairing is THE TELEPHONE with Monteverdi's IL COMBATTIMENTO DI TANCREDI E CLORINDA. This works very well, because the soprano/baritone duo who play Clorinda and Tancredi can play Lucy & Ben in the Menotti too And you have a tragedy with a comedy to follow, which is always a nice pairing It might even be commercially successful |
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
- Leon Trotsky, "My Life"
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Parsifal1882
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« Reply #147 on: 18:31:28, 30-05-2007 » |
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Ho, RT! Your allusion to PRIMA LA MUSICA couldn't be more timely: pairing CAPRICCIO with this Salieri makes more sense (thematically, that is) than my earlier suggestion (CAPRICCIO and RHEINGOLD).
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Il duolo della terra nel chiostro ancor ci segue, solo del cor la guerra in ciel si calmera! E la voce di Carlo! E Carlo Quinto! Mio padre! O ciel!
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Parsifal1882
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« Reply #148 on: 18:34:38, 30-05-2007 » |
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Which makes me wonder: are there many operas about writing/performing/directing, etc opera?
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Il duolo della terra nel chiostro ancor ci segue, solo del cor la guerra in ciel si calmera! E la voce di Carlo! E Carlo Quinto! Mio padre! O ciel!
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Ian Pace
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« Reply #149 on: 19:11:41, 30-05-2007 » |
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There is of course Britten's Let's Make an Opera!/The Little Sweep.
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'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
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