#Otello Verdi Karajan

[blackswaneuroparedux]

Those who have achieved all their aims probably set them too low.

- Herbert von Karajan

The Soprano Christa Ludwig described him as ‘Le bon Dieu’, while scores of musicians, reviewers and listeners have long regarded him as simply untouchable in the art of conducting. There was, however, much about Herbert von Karajan that was distinctly ungodlike. Ruthlessly ambitious as a young man and grimly autocratic in his later years, his life story is marked by bitter rivalries, feuds and, most notoriously, membership of the Nazi party.

But then, just listen to the results. It’s fascinating to look at the career, the controversy and the achievements of a conductor who still intrigues fans and detractors like no other musician long after his death.

The early career of Herbert von Karajan continues to be swathed in controversy.

Was he an ardent Nazi or an ambitious opportunist? If he was a zealous party member, should we revere his recordings as much as we do? To what extent should any moral accountability weigh against Karajan’s musical achievement? And how much latitude can we extend to people who have artistically given so generously?

Karajan is not alone in occupying this uncomfortable situation during this era. Similar debate surrounds Richard Strauss, Carl Orff and Karl Böhm. Indeed, Wagner also evokes hostility in certain quarters with regard to his racial sentiments.

When Adolf Hitler swept to power in January 1933, the 24-year-old Austrian Herbert von Karajan had already notched up nearly four seasons as an up-and-coming opera conductor in the South German city of Ulm.

Born in Salzburg in 1908 into a prosperous family, he had demonstrated gifts as a pianist and conductor while studying in Vienna. After graduation, his debut orchestral concert with the Salzburg Mozarteum Orchestra in January 1929, featuring works by R Strauss, Mozart and Tchaikovsky, caused a local sensation and helped to secure him the contract in Ulm.

Karajan seized on the opportunity to learn his trade in Ulm and cut his teeth on much of the operatic repertory from Mozart and Beethoven to Puccini and R . Strauss, including the opera Schwanda der Dudelsacker by the Czech Jewish composer Jaromir Weinberger.

Yet, after the Nazi take-over, Karajan’s future wasn’t assured.

In early 1933, German operatic life was thrown into turmoil as the regime hounded out musicians that were deemed politically and racially unacceptable, and also pursued a protectionist policy to limit employment for non-Germans.

Against this context, Karajan’s decision to join the Nazi Party in Salzburg in April 1933 should be understood as an opportunistic move which was probably designed to safeguard his position at Ulm. Whether it also signalled enthusiasm for Nazi policy is open to speculation, though he no doubt hoped that the strong-arm methods of the Nazis would bring cultural stability to Germany.

Karajan retained his Ulm job for a further season, during which he expanded his repertory to include a praised account of Strauss’s opera Arabella. But in March 1934 he was fired for professional intrigue involving a potential Jewish rival.

He did not have to wait long for a new post. Three months later he was made general music director in Aachen.

Working in a larger theatre enabled Karajan to tackle more ambitious repertory, such as Wagner’s Ring cycle, Verdi’s Otello and Strauss’s Elektra. He also consolidated his reputation in the concert hall, taking charge of Aachen’s annual season of orchestral and choral concerts. One pre-condition for accepting was that he should re-apply for membership of the Nazi Party, his earlier membership in Salzburg having lapsed. This was confirmed in March 1935.

Although in his denazification trial in March 1946 Karajan argued that he had joined the Party to further his career, he could not escape his obligation as Aachen’s general music director to provide the musical background for political occasions.

On 29 June 1935 he took part in a huge open-air orchestral and choral concert that celebrated the NSDAP Party Day and at a similar ceremony four years later he conducted the close from Wagner’s Meistersinger. But his concert programmes seemed untainted by political interference – works by Debussy, Ravel, Kodály and Stravinsky rubbed shoulders with German ones. In 1938 he flouted the law by programming Dukas’s Sorcerer’s Apprentice. Party authorities must have overlooked that Dukas was of Jewish descent.

Karajan conducts Dvořák’s “New World” Symphony No. 9, performed by the Vienna Philharmonic Orchestra

By 1937 Karajan’s achievements in Aachen were attracting national interest.

In a special edition devoted to Germany’s conducting legacy, the journal Die Musik singled him out as a man who ‘can lead the new organisation of our cultural life in the spirit and direction which National Socialism demands’. Concert engagements in Gothenburg, Vienna, Amsterdam, Brussels and Stockholm helped to spread his name beyond Germany.

Yet for all this, Karajan set his sights even higher by hoping to make an impact in Berlin. This ambition was realised in 1938 with a ‘Strength through Joy’ concert with the Berlin Philharmonic and engagement as conductor at the Berlin State Opera in Wagner’s Tristan und Isolde in October of the same year.

Karajan may not have anticipated that with his move to Berlin he was stepping into a political cauldron over which he would have little control.

It began with a review of his Tristan which appeared in the Berliner Zeitung. Under the title ‘Karajan the Miracle’, the critic Edwin von der Nüll lavished praise on the performance suggesting that in conducting Wagner’s score from memory the 30-year-old conductor had achieved ‘something our great men in their fifties might envy’.

This was calculated to offend the conductor Wilhelm Furtwängler who had previously ruled the roost in the same theatre. Karajan was set up as a pawn in the struggle for control of Berlin’s cultural institutions between Propaganda Minister Joseph Goebbels, a Furtwängler supporter, and Minister of Interior Hermann Goering, the patron of the Berlin State Opera.

In June 1939 Karajan conducted Wagner’s Die Meistersinger at the State Opera without a score. The performance collapsed when the baritone, a drunk Rudolf Bockelmann, made a serious error. Alas Hitler, in the audience, was furious, blaming instead Karajan’s insufficiently Germanic approach to Wagner by conducting from memory.

Further problems arose over his marriage in 1942 to the quarter Jewish Anita Gütermann, technically against the law.

Yet, despite this and the continuing hostility and suspicion of Goebbels and Hitler and Furtwängler’s jealousy, his career prospered during the war. He conducted Bach’s B Minor Mass in Paris for the occupying German soldiers in 1940 and returned to the French capital in 1941 to present his performance of Tristan with the Berlin State Opera.

From 1940 he appeared in Italy and gave concerts in Romania and Hungary. A major achievement was to secure popularity for Orff’s Carmina Burana, a score that had aroused some hostility from the Nazi hierarchy at its first performance in 1937 before Karajan’s performances in Aachen and Berlin during the early 1940s.

Driven by a fanatical love of music and a desire to advance his career, there’s little doubt that Karajan’s involvement with the Nazi regime was opportunistic.

Doubtless though there were also areas of Nazi policy that may well have chimed in with his own views. At the same time falling foul of the regime on occasions, his personal ideology can be best described as a montage of greys; nothing is ever clear-cut and nor perhaps should be our assessment of his work.

[wojciech-kac]

Otello Verdi Karajan - VHS Kaseta Video - Opole 2020

[amadeusrecordmagazine]

2021-溝有☆デル・モナコ、テバルディ、カラヤン指揮ウィーン・フィル　ヴェルディ：オテロ

当時の DECCA の技術のすいをつくした舞台をほうふつとさせる優秀録音盤。 Mario Del Monaco, Renata Tebaldi, Aldo Protti, Herbert Von Karajan / The Vienna Phlharmonic Orchestra – Verdi: Otello Highlights – LONDON OS 25701 通販中 レーベル 米 LONDON レコード番号 OS 25701 曲目 ヴェルディ : オテロ・ハイライト　他 演奏 テノール： マリオ・デル・モナコ ソプラノ： レナータ・テバルディ 指揮： ヘルベルト・フォン・カラヤン 管弦楽： ウィーン・フィル 枚数 1 Lp ffss ラージ・ラベル、ミゾ有り ED-2 盤 NM- ジャケット NM グレーディングについて 【盤】 NM =…

[valinaraii]

I've just recently realized that opera is super cool and I'd like to get into it more, but I'm not really sure where to begin. Do you have any recommendations? Thanks!

Hi Anon!

Of course it depends of which kind of music do you like the most, but there are operas I always recommend to start with. Brief operas like Mascagni’s Cavalleria rusticana, for example. You have plenty of performances on Youtube. Cavalleria last barely an hourand in my opinion is one of the better operas to begin with.

I’m not including many  stage performances because rigth now, for some reason, all the videos I find have a shitty quality. Perhaps is my Internet today, I don’t know.

Bizet’s Carmen is also a good one for beginners.

Wagner’s The Flying Dutchman. It had a great impact on me when I first listened it.

As for Verdi, I’d go for three operas that represent three moments of his long career: Macbeth, La Traviata and Otello.

Mozart’s operas are of course longer, but don’t be afraid. You have the Da Ponte trilogy of course (Nozze di Figaro, Don Giovanni, Così fan Tutte) of course, but Die Zauberflöte and Die Entführung aus dem Serailare good options too. Personally I love Idomeneo and Clemenza too.

Rossini: you can start with Rossini buffo, his comical operas: Barbiere, Cenerentola... but I DO prefer Rossini serio: Zelmira, Tancredi, Guillaume Tell...

For more good old tragic belcantism, you have also Donizetti’s Lucia di Lammermoor and Bellini’s Norma.

Never forget the Russians! Tchaikovsky’s Eugene Onegin and Queen of Spades or Rimsky’s Tsar’s Bride.

Given my current opinion about him, it’s ironical I started with Puccini’s Tosca and that La Bohème is an opera I use to recommend to my friends and relatives when they start to get interested in opera. You have several versions of both operas on Youtube. There are different film versions, one with Domingo, Kabaivanska and Milnes, the other with Gheorghiu, Alagna and Raimondi, and even an older version with Franco Corelli .   As for stage performances, there are a lot up there too. As for Bohème, you have also at least two film versions this one by Zeffirelli/Karajan and this other one, more recent, starring Villazón and Netrebko.

I hope the links are useful to you! :) As a bonus, I’m just leaving a little bit of Korngold here:

[mastcomm]

Mirella Freni, Matchless Italian Prima Donna, Dies at 84

Mirella Freni, an exemplary Italian prima donna for nearly 50 years, whose voice was ideally suited to lighter lyric roles but maintained its bloom even as she took on weightier, more dramatic repertory in midcareer, died on Sunday at her home in Modena, in north-central Italy. She was 84.

She died after a long degenerative illness and a series of strokes, said J.F. Mastroianni, her longtime manager.

In the late 20th century, when opera was becoming increasingly internationalized, Ms. Freni was hailed as a last exponent of the great Italian operatic heritage.

“That tradition is ending,” Plácido Domingo was quoted as saying in a 1997 New York Times article about Ms. Freni. “Mirella is the end of a chain. After that you cannot see who really follows her.”

Many opera lovers acknowledged Ms. Freni’s special claim on this tradition, which valued bel canto principles of producing rich, unforced sound; of shaping even, lyrical lines across the range of a voice; and of sensitively matching sound to words.

In her early years Ms. Freni won acclaim for her exquisite singing in lighter roles like Bizet’s Micaëla in “Carmen,” Mozart’s Susanna in “The Marriage of Figaro” and Zerlina in “Don Giovanni,” and Verdi’s Nannetta in “Falstaff.” She sang those roles with a matchless blend of radiance, lyrical ardor and girlish pluck.

With her beguiling stage presence, quiet charisma and the affecting vulnerability she could summon in her singing, Ms. Freni made Mimì in Puccini’s “La Bohème” a signature part. She won international acclaim in the role in a landmark 1963 production at La Scala in Milan, directed by Franco Zeffirelli and conducted by Herbert von Karajan, who became one of her major champions.

Though vocal beauty and proper technique were central to the Italian tradition, Ms. Freni placed a premium on expressivity and feeling. Commenting on the state of opera in a 1997 interview with The Times, she said there were many young artists who sing well and move well. “But that is all,” she added. “Finito! I want something deeper.

“It is important to have emotion, to live through the music onstage,” she continued. “Also, the Italian singers have a special feeling for the language. Even when we speak it is musical.”

Yet she steadily expanded her repertory and, as the colorings of her voice grew darker with maturity, sang more dramatically intense and vocally heavy roles, like Desdemona in Verdi’s “Otello,” Verdi’s Aida and Puccini’s Manon Lescaut. She was particularly urged on this course by Karajan, who brought her to the Salzburg Festival to sing Desdemona and the demanding role of Elisabetta in Verdi’s “Don Carlo.”

With the support of her second husband, the Bulgarian bass Nicolai Ghiaurov, she ventured into Russian repertory, singing Tatyana in Tchaikovsky’s “Eugene Onegin” and Lisa in Tchaikovsky’s “Pique Dame.”

Yet Ms. Freni never lost the warmth and richness of her lyric soprano origins. Reviewing her performance in “Manon Lescaut” at the Met in 1990, The Times’s Donal Henahan marveled at her longevity and excellence.

“The wonder of Mirella Freni at this stage of her career,” he wrote, “is that she continues to sing Puccini with seemingly reckless ardor while preserving a surprisingly fresh and beautiful sound.”

Still, Ms. Freni considered herself a judicious soprano. She could say no, even to the imposing Karajan, if she though a particular role was not right for her. She recorded Puccini’s “Madama Butterfly” twice, including a film version conducted by Karajan, but never performed the role complete in a staged production in an opera house.

“I am generous in many ways, but not when I think it will destroy my voice,” she said in a 2013 Opera News interview. “Some singers think they are gods who can do everything,” she added. “But I have always been honest with myself and my possibilities.”

She was born Mirella Fregni on Feb. 27, 1935, in Modena, eight months before Luciano Pavarotti was born in the same town. They would become friends and colleagues.

When Ms. Freni was 5, her uncle was playing a new recording of the Italian coloratura soprano Toti Dal Monte singing a melodically ornate aria from “Lucia di Lammermoor.” Young Mirella started singing along.

“I sang all the notes,” Ms. Freni recalled in that 1997 interview. “My family was amazed. But my father, who was a ‘barbiere,’ like Figaro, thought it was unnatural. He slapped me — with love, of course — and said, ‘What are you doing, stupid girl?’ I was so angry, I refused to sing another note for years.”

When she was 12, her uncle had her enter a national competition. Singing Puccini’s aria “Un bel dì,” Ms. Freni won. One of the judges, the great tenor Beniamino Gigli, cautioned her to go slowly. It was advice that she followed.

She made her professional debut in 1955 in her hometown as Micaëla in “Carmen.” Following a season with the Netherlands Opera, she began appearing in major houses and festivals, including La Scala, Glyndebourne in England and Covent Garden in London.

She made her Metropolitan Opera debut in 1965 as Mimì and returned regularly to sing, among various roles, Adina in Donizetti’s “L’Elisir d’Amore,” Liù in Puccini’s “Turandot” and a new 1967 production of Gounod’s “Roméo et Juliette” opposite the star tenor Franco Corelli (with whom she recorded the opera splendidly the next year).

But she had been absent from the Met for more than 14 years when she returned in 1983 as Elisabetta in “Don Carlo,” with James Levine conducting and Mr. Ghiaurov as Philip II. In 1996 the Met mounted a production of a rarity, Giordano’s “Fedora,” for Ms. Freni and Mr. Domingo, garnering rave reviews for both. She sang more than 140 performances with the company in all.

In 2005, at 70, Ms. Freni sang in a production of Tchaikovsky’s “The Maid of Orleans” with the Washington National Opera. In May of that year the Met presented her in a gala celebrating the 40th anniversary of her company debut and her 50th year in opera. The performance was her unannounced farewell to the stage.

Ms. Freni’s first marriage, to the Italian conductor and pianist Leone Magiera, also from Modena, ended in divorce. She married Mr. Ghiaurov in 1978. He died in 2004. She is survived by her daughter, Micaëla Magiera; two grandchildren; and a sister, Marta Fregni.

In later years Ms. Freni found satisfaction in teaching. After she enjoyed success with master classes at the University of Bologna, the mayor of Vignola, a town near Modena, invited her to establish a center for the study of singing there. Housed in a medieval castle, it drew students from around the world.

“They set up a little ostello” — a cozy hostel — “for the students,” Ms. Freni said in a 2005 interview with The Times. “They never want to leave.” She offered guidance and encouragement, but also warnings to be careful.

“They all scream,” she said. “They can’t give expression to the phrase. They don’t give the right accent to the words.” She said that she told her students over and over, “Pazienza! You must wait.”

Asked whether she thought of herself as the “last prima donna,” as she was sometimes called, Ms. Freni demurred.

“You tell me why I am the last of a tradition,” she said. “I have done my job honestly. I have worked hard and with joy.”

from WordPress https://mastcomm.com/mirella-freni-matchless-italian-prima-donna-dies-at-84/

[melbynews-blog]

Viel Zeitgenössisches im Premierenreigen « DiePresse.com

Neuer Beitrag veröffentlicht bei https://melby.de/viel-zeitgenoessisches-im-premierenreigen-diepresse-com/

Viel Zeitgenössisches im Premierenreigen « DiePresse.com

Einen klaren Schwerpunkt auf das 19., 20. und 21. Jahrhundert setzt die Wiener Staatsoper bei ihren Premieren in der Saison 2018/19: Neben neuinszenierten Repertoireklassikern wie Verdis „Otello“ oder Strauss‘ „Frau ohne Schatten“ gibt es mit Trojahns „Orest“ auch ein zeitgenössisches Werk und mit Stauds „Die Weiden“ gar eine Uraufführung unter den sechs Opernpremieren.

Den Höhepunkt der Saison stellt wohl fraglos die Premiere von Richard Strauss‘ „Frau ohne Schatten“ am 25. Mai 2019 dar, dem offiziellen Jubiläumstag zur Eröffnung der Staatsoper vor 150 Jahren. Das Pendant an Aufmerksamkeit auf der zeitgenössischen Seite stellt indes die Uraufführung von „Die Weiden“ dar, die Johannes Maria Staud und der Dichter Durs Grünbein für das Haus schreiben.

Eine zweite Uraufführung im Großen Haus musste man bekanntlich absagen, nachdem Krzysztof Penderecki seine „Phaedra“ nicht abliefern wird. „Er hat es einfach nicht geschafft“, bedauerte Direktor Dominique Meyer am Donnerstag bei der Präsentation den Rückzug des Komponisten. Stattdessen ist nun Manfred Trojahns „Orest“ angesetzt. Den Reigen des Zeitgenössischen komplettiert am 26. Jänner 2019 die Uraufführung von Elisabeth Naskes Kinderoper „Was ist los bei den Enakos?“ am Standort Walfischgasse.

Valery Gergiev feiert persönliches Hausdebüt

Eines der Großwerke aus der Heimat von Direktor Meyer wird am 14. Oktober den Auftakt zur Premierensaison darstellen, wenn Hector Berlioz‘ „Les Troyens“ erklingt, für die David McVicar die Regie besorgt, wofür er auf Stars wie Adam Plachetka oder Joyce DiDonato zurückgreifen kann. Zwei Klassiker des Repertoires stellen indes Gaetano Donizettis „Lucia di Lammermoor“ und Giuseppe Verdis „Otello“ dar, die am 9. Februar respektive am 20. Juni 2019 Premiere feiern.

Weltstars wie Dirigent Valery Gergiev feiern in der kommenden Saison ihr persönliches Hausdebüt, während auch unter den Sängern wieder zentrale Rollendebüts begangen werden. So wird Andreas Schager erstmals den Lohengrin singen oder Piotr Beczala den Cavaradossi der „Tosca“.

In Summe werden heuer im Haus am Ring 50 verschiedenen Opern zu sehen sein, denen sich zehn verschiedene Ballett- und fünf Kinderprogramme beigesellen. Insgesamt sind in der kommenden Spielzeit über 350 Vorstellungen angesetzt, von denen 217 auf den Opernbereich entfallen sowie 58 aufs Ballett.

150 Jahre Staatsoper: „Das muss man groß feiern“

Prägend für die kommende Saison der Wiener Staatsoper wird neben den Premieren vor allem sein rundes Jubiläum: Am 25. Mai 2019 jährt sich die Eröffnung des Hauses zum 150. Mal. Und das will man feiern. Die Premiere der „Frau ohne Schatten“ stellt den formellen Höhepunkt dar, dem am Vormittag ein Festakt vorausgeht und sich tags darauf ein Fest am Herbert von Karajan-Platz anschließt.

„Ich bin ja eigentlich kein Fan von Jubiläum, aber das muss man groß feiern“, zeigte sich Meyer anlassbezogen partywillig. Überdies bereitet man das Ereignis mit einem Symposium von 17. bis 19. September 2018 vor, das unter Leitung von Oliver Rathkolb die Geschichte des Wiener Musiktheaters aufarbeiten möchte. Hinzu kommt eine Ausstellung zur Geschichte der Staatsoper im Haus selbst und ab 16. Mai 2019 im Theatermuseum die Schau „Die Spitze tanzt – 150 Jahre Ballett an der Wiener Staatsoper“. Schließlich wird es Publikationen zur Baugeschichte der Staatsoper geben. Und der kaufmännische Geschäftsführer Thomas Platzer verweist auf den 150-Jahr-Jubiläumszyklus.

Streaming: 7000 zahlende Kunden

Abseits der Live-Erlebnisse am Ring, führt man auch das mittlerweile etablierte Streaming-Angebot (www.staatsoperlive.com) fort, das aktuell rund 7000 zahlende Kunden vorweisen kann. Hier stehen erneut 45 Vorstellungen des Hauses virtuell zur Verfügung. Bei der „Oper live am Platz“ werden wieder rund 85 Vorstellungen in den warmen Monaten auf den Herbert von Karajan-Platz bei freiem Eintritt übertragen. Und der neu abgeschlossene Vertrag mit dem ORF impliziert unter anderem, dass es Übertragungen auf ORF III gibt.

Freudig zeigte sich Meyer über den Fortschritt bei den Renovierungsarbeiten im Haus, auch wenn dieser nicht immer sofort ins Auge steche: „Das ist, als wenn Sie bei jemandem zum Essen eingeladen ist: Wenn es sauber ist, merkt man es nicht, nur wenn es staubig ist.“ Nun ist das Foyer an der Reihe, wobei hier der Abschluss bis Dezember geplant ist.

Und schließlich erfreut auch die finanzielle Bilanz den Direktor. „Ich will ein Geheimnis verraten: Es geht uns gut – wir haben tolle Zahlen“, so Meyer: „Da kann man nicht meckern.“ Beim Jahresvergleich bis 17. April sanken die durchschnittlichen Einnahmen pro Vorstellung von 120.533 Euro auf 120.073 Euro. Die Zahl der Besucher stieg allerdings unter anderem dank einer um drei auf 214 gesteigerten Zahl an Vorstellungen von 432.164 auf 440.697 Gäste.

Die Sitzplatzauslastung blieb mit 98,54 Prozent (nach 98,71 Prozent) annähernd stabil. Bei der Oper verzeichnete man dabei einen kleinen Rückgang von 99,25 auf 98,94 Prozent, während im Ballett ein Anstieg von 97,39 Prozent auf 97,85 Prozent vermeldet wird. Die Gesamteinnahmen betrugen im Vergleichszeitraum 25,696 Mio. Euro nach 25,432 Mio. Euro im Jahr davor.

In der neuen Spielzeit werden die Tickets im Schnitt um rund fünf Prozent angehoben. Die Stehplatzkarten blieben von der Erhöhung allerdings unbetroffen – somit liege deren Preis bei seinem Ausscheiden 2020 auf demselben Niveau wie bei seinem Antritt, betonte Meyer.

  (APA)

Quelle

قالب وردپرس

[joaquimblog]

Carlo Galeffi

Tito Schipa

Marilyn Horne

Joan Sutherland

Amb Gianguido no recordo quan ens varem començar a seguir, si que recordo que em va cridar l’atenció un nick que sota la figura i el nom de Mozart va començar a aparèixer en els “m’agrada” de molts dels apunts d’IFL, fet que va motivar que un dia premés sobre el seu perfil i m’adonés que tenia un blog (Mozart 2006) que a partir d’aleshores sovintejo per la claredat, el rigor, la radicalitat i la integritat que sempre desprenen les seves opinions i cròniques d’un italià que ens parla no només de la vida musical de centreeuropa (viu a Stuttgart) i amb les que es pot o no estar d’acord, però que són fruit d’una erudició més que contrastada i per tant una raresa que no s’ha de menystenir en un món tan mancat d’opinions sinceres, lliures i òbviament per tot això, controvertides. Jo diria que és un dels “grisini” més distingits

Tan aviat li vaig proposar participar en el qüestionari em va contestar “volentieri.”, això si, en alguna de les qüestions no es limitava a una única i impossible resposta i per tant vaig deixar el primer nom que em contestava i tot seguit vaig utilitzar les doloroses i injustes estisores allà on vosaltres ara veureu punts suspensius, que espero que ell ens acabi de completar en un comentari, ja que alguns dels noms que he obviat (tenor, baríton, baix o director) són poc qüestionables, però en canvi m’he estimat posar les primeres opcions que fan referència a cantants del passat que encara no havien aparegut fins ara en cap dels qüestionaris publicats.

Així doncs, us deixo amb aquest nou viratge que suposa cada setmana el descobriment dels vostres qüestionaris.

La primera vegada que vas anar a l’òpera quin any va ser? Estate 1966

A quin teatre? Teatro La Fenice di Venezia

Quina òpera vas veure? Otello

Els teus pares anaven o van a l’òpera? Si

Quin compositor operístic t’estimes més? Verdi

Quina és l’aspecte que valores més d’una representació operística? La Musica

Quin és el teu tenor predilecte?  Tito Schipa tra le voci storiche…

Quina és la teva soprano predilecta? Joan Sutherland

Quin és ell teu baríton predilecte? Carlo Galeffi tra gli storici

Quina és la teva mezzosoprano predilecta? Marilyn Horne

Quin és el teu baix predilecte? Ezio Pinza (voci storiche)…

Quin és el teatre dels que has visita que més t’ha impressionat? Il Festspielhaus di Bayreuth

Podries viure en una ciutat sense teatre d’òpera? No

Quina és la teva òpera predilecte? La Traviata…

Quina òpera detestes? Pelleas et Melisande

Valora de 1 a 10 la importància del director d’escena en una representació operística 3

A quina ciutat del món que no sigui la teva i amb teatre d’òpera, t’agradaria viure? Londra

Quin és el llibretista operístic preferit? Wagner

Quin és el teu heroi de ficció operístic? Boris Godunov

Quina és la teva heroïna de ficció operística? Violetta Valery

La gravació operística que t’enduries a l’illa deserta? Il Ring diretto da Herbert von Karajan

El director d’orquestra operístic preferit?  Wilhelm Furtwängler…

El director d’escena preferit? Nessuno in particolare

La representació operística que t’hagués agradat assistir? La Fanciulla del West di Firenze 1954 con Mitropoulos, Del Monaco ed Eleanor Steber

L’òpera barroca que més t’agrada? Ariodante di Händel

L’òpera clàssica que més t’agrada? Cosí fan tutte

L’òpera romàtica que més t’agrada?

L’òpera del segle XX que més t’agrada?Salomé di Richard Strauss

L’òpera del segle XXI que més t’agrada? L’amour de loin di Kaija Saariaho

Si poguessis escollir una vocalitat lírica, què t’agradaria ser: soprano, mezzosoprano, contralt, tenor, baríton o baix? Baritono

Us deixo la representació que li hagués agradat assistir a Gianguido:

Grazie mille Gianguido, un onore ed un piacere

La propera setmana coneixereu el qüestionari de Vicent, que des de terres nòrdiques ens obrirà de ben segur noves perspectives operístiques.

Bona setmana a tothom

EL QÜESTIONARI IFL DE GIANGUIDO MUSSOMELLI Amb Gianguido no recordo quan ens varem començar a seguir, si que recordo que em va cridar l'atenció un nick que sota la figura i el nom de…