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Saturday, May 4, 2013
Friday, May 3, 2013
TENOR ROLE in Salieri's "Falstaff"
Speranza
I disagree with the reviewers who complained about the singing and sound quality.
I thought the sound was fine, and the singing quite good.
The opera was amusing.
I didn't like the translation of the libretto.
I suppose it was meant to be breezy, but it struck me as rather stupid.
The modern slang.."get lost buster" and that sort of thing.
My main objection is that it's just not very good music.
There's a huge amount of recitative...much more of that than arias.
Someone said that it sounds like a precursor of Rossini, and I can see this.
But frankly, I was bored by it.
Not only weren't there many arias, but they weren't very interesting.
There are a great many scene changes.
Couldn't he write a scene that lasts longer than five minutes or so?
I'm glad I watched it, but I'm also glad I rented rather than bought it.
Good for the company that staged the production, but I wouldn't want to see it again.
Are all Salieri's operas like this?
The Not-so-Merry Witches of Windsor., September 8, 2010
This was one of the most unpleasant experiences in hearing and watching an opera DVD.
This looked and sounded as another casualty of experimental German productions, although in costumes and staging this was extremely conservative.
I knew for long that Salieri was a master in comical operas, but this was not funny at all.
It all looked like rather an austere burlesque at some country fair, with gray dull colors and boring looks.
What added gravely to that impression is that there was no one good voice here!
How could it be?
Master Ford, the tenor, was shockingly awful in his opening aria, and never better later.
All female voices were screeching with various degree of abominable.
They also are made to play in a very dull and dumb manner.
If there was anything witty and funny in Shakespeare, nothing remained of it.
Indeed, time better spent would be just to read the play and leave acting and sound to imagination.
I am not sure why this opera seemed so poor.
My exposure to Salieri was quite limited, and came mostly from listening to Diana Damrau's mixed recording of Mozart, Salieri and Righini arias.
However, Salieri was very popular in his time, and even preferred to Mozart, so it could not be so bad.
I expected much more musically, and maybe it was not just the best opera by Salieri, while nothing could really remedy the very mediocre troupe of singers.
In addition, I am not sure if it was really a good idea to make Falstaff look simply repulsive - sometimes these German post-modernist take things too literally, and the ugliness of this Falstaff was too true, with nothing funny about it.
Also, these supposed "Merry Wives of Windsor" looked more like
Witches as well.
Grim and morose hues were stiffing.
Thus, in addition to being so disappointing vocally, this production was not pleasant visually as well.
The only benefit to me was to hear to my amazement how much Rossini there was.
It seems that the entire "Pace E Gioia Sie Con Voi" from "Il Barbiere di Siviglia" Gioachino just borrowed from here, as he is quite famous to do - borrowing from himself and obviously others.
Also one could hear occasional Mozart in this "Falstaff" - from "Le nozze di Figaro", perhaps, and some hints from "Don Giovanni" and "Cosi fan tutte".
Surely the reciprocal influence of Salieri-Mozart can be well-appreciated in this otherwise a poor production.
Recommended for educational purposes only.
Pay No Heed
... to the griping review about sound quality, written in 2001.
The sound is quite fine, resonant and well balanced.
The singers and orchestra are well integrated, which matters especially because Salieri was "progressive" for his era in treating the voices as integral to the orchestral whole.
I have to wonder how much of this sound track was studio-recorded.
I watched lips and couldn't notice any giveaway.
Pay no heed also to the persistent denigrating comparisons between Antonio Salieri and a certain brash young Salzburger of the same era.
Salieri was an extremely successful composer and a highly sought-after teacher (his students included Beethoven and Schubert) precisely because he was very skilled and very entertaining.
His "Falstaff" is exactly that: entertaining!
The compositional art is there, to be sure, but the emphasis is on entertainment.
Likewise, this production from the Schwetzinger Festspiele of 1995 aims to entertain.
The costumes are amusing, the stage action is well executed, the characters are comically realized, the music itself is brash and funny, and the libretto is hilarious.
The English subtitles are not literal translations, but rather witty paraphrases in rhyme.
The funniest portions of the libretto are the scenes when Mistress Ford disguises herself as a German and comes to Falstaff with a love assignation.
Even if you speak neither Italian nor German, you'll know how comically the two singers are butchering the two languages.
Of course, the libretto should be funny, since it's based on Shakespeare's slapstick "Merry Wives of Windsor".
If you've read that play, or seen Verdi's "Falstaff", you won't need a synopsis to know in advance the purpose of the humongous laundry basket on the side of the stage.
The basic story of Salieri's Falstaff is the same as Verdi's.
Frankly, I prefer Salieri's realization over Verdi's until the last scene, at night beneath the gnarled oak, when Verdi finally reaches musical sublimity.
Up until then, Salieri is wittier and prettier.
Instead of mismatching Salieri with that precocious Salzburger, one would do well to hear how much Salieri must have influenced Rossini.
This "Falstaff" predates Rossini's first opera by more than a decade.
Of course, both composers probably drew from a common musical language of their period, but Salieri was the 'progressive', the composer who set the standard for comic opera for the next generation.
Musically and dramatically, "Falstaff" is extremely well structured.
The mood never sags.
The comedic effect builds, as it does in the best of Rossini.
The rapid-patter arias in Falstaff presage the brilliant use Rossini would make of that device in later operas.
The frantic ensembles that conclude scenes in "Falstaff" are just as funny, and just as compositionally bold, as in Rossini.
I'd say, if this "Falstaff" had been written by Rossini, it would hold a cherished place in the standard repertoire of opera companies today.
It's only the "bum rap" that Salieri has received from the Romantic Idolatry crowd that has kept his music off the stage.
The 'modern' quality of Salieri's orchestration is magnified on this DVD by the timbres and style of the modern instrument orchestra.
One might ask, why resurrect an opera of 1799 and stage it in the best restored/preserved jewel box opera house of Europe, and then perform it with a modern orchestra and with singers who have no commitment to 'classical era' vocal technique?
Yes, one might ask, but I won't. The orchestra is excellent. The singing is worthy, especially the singing of the males in the cast.
Tenor Richard Croft is glorious in the role of the jealous husband, Mr. Ford, and that's opportune because Ford has the loveliest aria in the whole show to sing.
By the way, most of "Falstaff" is aria and arioso; there's very little recitativo, another indication of Salieri's comparative modernity. Baritone Jake Gardner is both dramatically and vocally effective as the "straight man" Mr. Slender. The aging baritone Carlos Feller is wonderful as Bardolfo, in this script the perennial grumbling valet of an abusive master. That master is naturally Falstaff, sung by John Del Carlo, whose physical presence dominates the stage as it should. Del Carlo is a massive figure, made more massive of belly by exquisitely funny costuming. His voice is just as massive, robust, blustery, artfully bombastic. A perfect Falstaff, in short.
I'm less enthusiastic about the three women in the cast, Teresa Ringholz as Mrs. Ford, Delores Ziegler as Mrs. Slender, and Darla Brooks as the maid Betty. Ringholz acts her role with comic aplomb, but her singing reveals the weaknesses of modern vocal technique applied to 18th C music. Her voice isn't agile enough to embellish the passages appropriately. All three women sing tunefully, resonantly, but without style. Don't let that deter you from listening to this performance, however! Musically, it's the men who need to have the right stuff, and indeed they do. Help other customers find the most helpful reviews
Sparkling Salieri!
This production is about as sparkling a work as I've seen in quite some time.
Salieri's score shows very heavy influences of his rival, Mozart, in particular his overture reminded me a good bit of Nozze di Figaro. It's perhaps easy to see (or hear) why
Mozart outshone Salieri.
Mozart (we know) was genius who accomplished the unbelievable and amazing in such a brief span of life.
Nonetheless, Salieri is very worthy of exploration and his works, this in particular, should be heard by modern audiences.
I can't think of a better production to do the introduction than this ArtHaus DVD.
In the title role, we are treated to a spirited, infectiously joyful performance by John Del Carlo.
He looks exactly like my perfect Verdian Falstaff and his music is inspired. Salieri's recitatives are often as exciting as his arias and ensembles, and he's fairly daring in his structure of this work with ensembles, recits, arias, double recits, etc. flowing in and out of each other was masterful creativity.
What a delight to see Delores Ziegler as Mistress Slender. Ziegler's comic timing is nearly the match of Del Carlo's and again Salieri has given his cast some tough music.
Speaking of tough music, the assignment Salieri gives Ford (as opposed to Verdi's Ford, we get a tenor), is met with near athletic aplomb and virtuosity by my favorite tenor, Richard Croft.
Croft plays the jealous Ford with the skill of a great actor, his body language, even when he's just listening and reacting to Slender's scheming reveals much about this character.
Croft throws out some dazzling vocal fireworks in his 2nd scene's aria and recitative.
While some critics complain that even late Salieri sounds older than early Mozart, I won't agree. Some of his music, (aforementioned aria in particular) almost sounds Rossinian! Ditto the Act I quartet with the Slenders and the Fords.
Teresa Ringholz does not possess my favorite type of voice, but as Mistress Ford, she shows herself to be a great comic actress and she shows a sense of Salierian style (?!) and her voice actually grew on me to the point where she had me cheering her on several times.
I can think of a few listers who won't want to hear this, but I think anyone looking for something a bit off the beaten path (okay, more than a "bit" off it), thoroughly tuneful, and with near nonstop comic action by performers who are clearly having a damned good time, I can't recommend this enough.
Michael Hampe's stylish sets and costumes are a perfect fit for the tiny Schwetzingen stage making it appear both much larger and smaller than it really is. Arnold Ostman and the Stuttgart Radio Symphony are inspired sounding like they're racing off to a fire. Once or twice that makes it feel as though a singer might not make it (there really is some virtuoso singing going on) but they do and the time flies by.
It's difficult not to fall in love with Salieri's sparkling opera!
Salieri is not Mozart,
This DVD is nicely presented visually, but I found the sound on my admittedly ancient TV to be quite distorted. It seemed as if the sound was recorded at a level above what the recording equipment could take. Most of the singers including Falstaff seemed reasonably accurate, but the apparent distortion made the quality seem mediocre. The dialogue was quite good and the comic acting was excellent. On the other hand, the quality of the music was just not very good. Maybe everyone should hear Salieri's music (origin of 2 star rating) but I don't believe one needs to invest $30 for this privilege. My copy is going to the library because in spite of good orchestral playing and decent singing and acting, I will never waste my time watching and listening to this again. Help other customers find the most helpful reviews
A very pleasant surprise, August 18, 2000
"Not very good" was how a friend of mine many years ago described the music to a certain opera he had just heard on a CD. Perhaps if he viewed the new Arthaus Musik DVD release of Salieri's (100 023), distributed by the excellent Naxos of America
people, his opinion might change.
Now granted that it comes nowhere close to the standard set by the Verdi opera and it lacks the great beauty of the Vaughan Williams "Sir John in Love," it is almost as good as Nicolai's "Merry Wives of Windsor" and quite respectable on its own terms. As in Boito's libretto for the Verdi work, Salieri's librettist, Carlo Prospers Defranceschi, cut the Shakespeare play down to its essential plots and even more so. The subplot of Fenton and Ann Page is gone. Indeed so are Mr. and Mrs. Page, the second merry wife here becoming Mrs. Slender. The incident of Falstaff in drag is included, however, and Mr. Ford gets two jealousy arias, where Boito gives him one.
There is a very funny scene in which
Mrs. Ford comes in disguise (since there is no Mistress Quickly in this version), pretending to speak German and a little English, while Falstaff professes to speak only English and a little German--all the while the two are singing in Italian, laced with German phrases and a little French thrown in!
There is a little more secco recite than modern audiences would care to have, and not many of the tunes of the arias and ensembles will linger in the memory after only one hearing; but the score is in general bubbly and well composed by the man who almost certainly did not murder Mozart.
The cast is strong throughout. Boasting many American singers, it includes John Del Carlo (Falstaff), Teresa Ringholz (Mrs. Ford), Richard Croft (Mr. Ford), Delores Ziegler (Mrs. Slender), Jake Gardner (Mr. Slender), Carlos Feller (Bardolfo), and Darla Brooks (Betty). Del Carlo gives us a tall, not really unattractive Falstaff (except for the paunch), while Ringholz shows good comic flair in her two disguise scenes. Extra humor is offered by the zesty subtitles, written in rhyme, that paraphrase rather than translate the Italian text.
Arnold Oestmann conducts the Radio Symphony Orchestra Stuttgart at the Schwetzinger Festspiele. The video is excellent, the subtitles are clear. And the disc runs at about 20 minutes longer than the 120 minutes shown on the back cover. A delightful addition to any musical collection.
I disagree with the reviewers who complained about the singing and sound quality.
I thought the sound was fine, and the singing quite good.
The opera was amusing.
I didn't like the translation of the libretto.
I suppose it was meant to be breezy, but it struck me as rather stupid.
The modern slang.."get lost buster" and that sort of thing.
My main objection is that it's just not very good music.
There's a huge amount of recitative...much more of that than arias.
Someone said that it sounds like a precursor of Rossini, and I can see this.
But frankly, I was bored by it.
Not only weren't there many arias, but they weren't very interesting.
There are a great many scene changes.
Couldn't he write a scene that lasts longer than five minutes or so?
I'm glad I watched it, but I'm also glad I rented rather than bought it.
Good for the company that staged the production, but I wouldn't want to see it again.
Are all Salieri's operas like this?
The Not-so-Merry Witches of Windsor., September 8, 2010
This was one of the most unpleasant experiences in hearing and watching an opera DVD.
This looked and sounded as another casualty of experimental German productions, although in costumes and staging this was extremely conservative.
I knew for long that Salieri was a master in comical operas, but this was not funny at all.
It all looked like rather an austere burlesque at some country fair, with gray dull colors and boring looks.
What added gravely to that impression is that there was no one good voice here!
How could it be?
Master Ford, the tenor, was shockingly awful in his opening aria, and never better later.
All female voices were screeching with various degree of abominable.
They also are made to play in a very dull and dumb manner.
If there was anything witty and funny in Shakespeare, nothing remained of it.
Indeed, time better spent would be just to read the play and leave acting and sound to imagination.
I am not sure why this opera seemed so poor.
My exposure to Salieri was quite limited, and came mostly from listening to Diana Damrau's mixed recording of Mozart, Salieri and Righini arias.
However, Salieri was very popular in his time, and even preferred to Mozart, so it could not be so bad.
I expected much more musically, and maybe it was not just the best opera by Salieri, while nothing could really remedy the very mediocre troupe of singers.
In addition, I am not sure if it was really a good idea to make Falstaff look simply repulsive - sometimes these German post-modernist take things too literally, and the ugliness of this Falstaff was too true, with nothing funny about it.
Also, these supposed "Merry Wives of Windsor" looked more like
Witches as well.
Grim and morose hues were stiffing.
Thus, in addition to being so disappointing vocally, this production was not pleasant visually as well.
The only benefit to me was to hear to my amazement how much Rossini there was.
It seems that the entire "Pace E Gioia Sie Con Voi" from "Il Barbiere di Siviglia" Gioachino just borrowed from here, as he is quite famous to do - borrowing from himself and obviously others.
Also one could hear occasional Mozart in this "Falstaff" - from "Le nozze di Figaro", perhaps, and some hints from "Don Giovanni" and "Cosi fan tutte".
Surely the reciprocal influence of Salieri-Mozart can be well-appreciated in this otherwise a poor production.
Recommended for educational purposes only.
Pay No Heed
... to the griping review about sound quality, written in 2001.
The sound is quite fine, resonant and well balanced.
The singers and orchestra are well integrated, which matters especially because Salieri was "progressive" for his era in treating the voices as integral to the orchestral whole.
I have to wonder how much of this sound track was studio-recorded.
I watched lips and couldn't notice any giveaway.
Pay no heed also to the persistent denigrating comparisons between Antonio Salieri and a certain brash young Salzburger of the same era.
Salieri was an extremely successful composer and a highly sought-after teacher (his students included Beethoven and Schubert) precisely because he was very skilled and very entertaining.
His "Falstaff" is exactly that: entertaining!
The compositional art is there, to be sure, but the emphasis is on entertainment.
Likewise, this production from the Schwetzinger Festspiele of 1995 aims to entertain.
The costumes are amusing, the stage action is well executed, the characters are comically realized, the music itself is brash and funny, and the libretto is hilarious.
The English subtitles are not literal translations, but rather witty paraphrases in rhyme.
The funniest portions of the libretto are the scenes when Mistress Ford disguises herself as a German and comes to Falstaff with a love assignation.
Even if you speak neither Italian nor German, you'll know how comically the two singers are butchering the two languages.
Of course, the libretto should be funny, since it's based on Shakespeare's slapstick "Merry Wives of Windsor".
If you've read that play, or seen Verdi's "Falstaff", you won't need a synopsis to know in advance the purpose of the humongous laundry basket on the side of the stage.
The basic story of Salieri's Falstaff is the same as Verdi's.
Frankly, I prefer Salieri's realization over Verdi's until the last scene, at night beneath the gnarled oak, when Verdi finally reaches musical sublimity.
Up until then, Salieri is wittier and prettier.
Instead of mismatching Salieri with that precocious Salzburger, one would do well to hear how much Salieri must have influenced Rossini.
This "Falstaff" predates Rossini's first opera by more than a decade.
Of course, both composers probably drew from a common musical language of their period, but Salieri was the 'progressive', the composer who set the standard for comic opera for the next generation.
Musically and dramatically, "Falstaff" is extremely well structured.
The mood never sags.
The comedic effect builds, as it does in the best of Rossini.
The rapid-patter arias in Falstaff presage the brilliant use Rossini would make of that device in later operas.
The frantic ensembles that conclude scenes in "Falstaff" are just as funny, and just as compositionally bold, as in Rossini.
I'd say, if this "Falstaff" had been written by Rossini, it would hold a cherished place in the standard repertoire of opera companies today.
It's only the "bum rap" that Salieri has received from the Romantic Idolatry crowd that has kept his music off the stage.
The 'modern' quality of Salieri's orchestration is magnified on this DVD by the timbres and style of the modern instrument orchestra.
One might ask, why resurrect an opera of 1799 and stage it in the best restored/preserved jewel box opera house of Europe, and then perform it with a modern orchestra and with singers who have no commitment to 'classical era' vocal technique?
Yes, one might ask, but I won't. The orchestra is excellent. The singing is worthy, especially the singing of the males in the cast.
Tenor Richard Croft is glorious in the role of the jealous husband, Mr. Ford, and that's opportune because Ford has the loveliest aria in the whole show to sing.
By the way, most of "Falstaff" is aria and arioso; there's very little recitativo, another indication of Salieri's comparative modernity. Baritone Jake Gardner is both dramatically and vocally effective as the "straight man" Mr. Slender. The aging baritone Carlos Feller is wonderful as Bardolfo, in this script the perennial grumbling valet of an abusive master. That master is naturally Falstaff, sung by John Del Carlo, whose physical presence dominates the stage as it should. Del Carlo is a massive figure, made more massive of belly by exquisitely funny costuming. His voice is just as massive, robust, blustery, artfully bombastic. A perfect Falstaff, in short.
I'm less enthusiastic about the three women in the cast, Teresa Ringholz as Mrs. Ford, Delores Ziegler as Mrs. Slender, and Darla Brooks as the maid Betty. Ringholz acts her role with comic aplomb, but her singing reveals the weaknesses of modern vocal technique applied to 18th C music. Her voice isn't agile enough to embellish the passages appropriately. All three women sing tunefully, resonantly, but without style. Don't let that deter you from listening to this performance, however! Musically, it's the men who need to have the right stuff, and indeed they do. Help other customers find the most helpful reviews
Sparkling Salieri!
This production is about as sparkling a work as I've seen in quite some time.
Salieri's score shows very heavy influences of his rival, Mozart, in particular his overture reminded me a good bit of Nozze di Figaro. It's perhaps easy to see (or hear) why
Mozart outshone Salieri.
Mozart (we know) was genius who accomplished the unbelievable and amazing in such a brief span of life.
Nonetheless, Salieri is very worthy of exploration and his works, this in particular, should be heard by modern audiences.
I can't think of a better production to do the introduction than this ArtHaus DVD.
In the title role, we are treated to a spirited, infectiously joyful performance by John Del Carlo.
He looks exactly like my perfect Verdian Falstaff and his music is inspired. Salieri's recitatives are often as exciting as his arias and ensembles, and he's fairly daring in his structure of this work with ensembles, recits, arias, double recits, etc. flowing in and out of each other was masterful creativity.
What a delight to see Delores Ziegler as Mistress Slender. Ziegler's comic timing is nearly the match of Del Carlo's and again Salieri has given his cast some tough music.
Speaking of tough music, the assignment Salieri gives Ford (as opposed to Verdi's Ford, we get a tenor), is met with near athletic aplomb and virtuosity by my favorite tenor, Richard Croft.
Croft plays the jealous Ford with the skill of a great actor, his body language, even when he's just listening and reacting to Slender's scheming reveals much about this character.
Croft throws out some dazzling vocal fireworks in his 2nd scene's aria and recitative.
While some critics complain that even late Salieri sounds older than early Mozart, I won't agree. Some of his music, (aforementioned aria in particular) almost sounds Rossinian! Ditto the Act I quartet with the Slenders and the Fords.
Teresa Ringholz does not possess my favorite type of voice, but as Mistress Ford, she shows herself to be a great comic actress and she shows a sense of Salierian style (?!) and her voice actually grew on me to the point where she had me cheering her on several times.
I can think of a few listers who won't want to hear this, but I think anyone looking for something a bit off the beaten path (okay, more than a "bit" off it), thoroughly tuneful, and with near nonstop comic action by performers who are clearly having a damned good time, I can't recommend this enough.
Michael Hampe's stylish sets and costumes are a perfect fit for the tiny Schwetzingen stage making it appear both much larger and smaller than it really is. Arnold Ostman and the Stuttgart Radio Symphony are inspired sounding like they're racing off to a fire. Once or twice that makes it feel as though a singer might not make it (there really is some virtuoso singing going on) but they do and the time flies by.
It's difficult not to fall in love with Salieri's sparkling opera!
Salieri is not Mozart,
This DVD is nicely presented visually, but I found the sound on my admittedly ancient TV to be quite distorted. It seemed as if the sound was recorded at a level above what the recording equipment could take. Most of the singers including Falstaff seemed reasonably accurate, but the apparent distortion made the quality seem mediocre. The dialogue was quite good and the comic acting was excellent. On the other hand, the quality of the music was just not very good. Maybe everyone should hear Salieri's music (origin of 2 star rating) but I don't believe one needs to invest $30 for this privilege. My copy is going to the library because in spite of good orchestral playing and decent singing and acting, I will never waste my time watching and listening to this again. Help other customers find the most helpful reviews
A very pleasant surprise, August 18, 2000
"Not very good" was how a friend of mine many years ago described the music to a certain opera he had just heard on a CD. Perhaps if he viewed the new Arthaus Musik DVD release of Salieri's
Now granted that it comes nowhere close to the standard set by the Verdi opera and it lacks the great beauty of the Vaughan Williams "Sir John in Love," it is almost as good as Nicolai's "Merry Wives of Windsor" and quite respectable on its own terms. As in Boito's libretto for the Verdi work, Salieri's librettist, Carlo Prospers Defranceschi, cut the Shakespeare play down to its essential plots and even more so. The subplot of Fenton and Ann Page is gone. Indeed so are Mr. and Mrs. Page, the second merry wife here becoming Mrs. Slender. The incident of Falstaff in drag is included, however, and Mr. Ford gets two jealousy arias, where Boito gives him one.
There is a very funny scene in which
Mrs. Ford comes in disguise (since there is no Mistress Quickly in this version), pretending to speak German and a little English, while Falstaff professes to speak only English and a little German--all the while the two are singing in Italian, laced with German phrases and a little French thrown in!
There is a little more secco recite than modern audiences would care to have, and not many of the tunes of the arias and ensembles will linger in the memory after only one hearing; but the score is in general bubbly and well composed by the man who almost certainly did not murder Mozart.
The cast is strong throughout. Boasting many American singers, it includes John Del Carlo (Falstaff), Teresa Ringholz (Mrs. Ford), Richard Croft (Mr. Ford), Delores Ziegler (Mrs. Slender), Jake Gardner (Mr. Slender), Carlos Feller (Bardolfo), and Darla Brooks (Betty). Del Carlo gives us a tall, not really unattractive Falstaff (except for the paunch), while Ringholz shows good comic flair in her two disguise scenes. Extra humor is offered by the zesty subtitles, written in rhyme, that paraphrase rather than translate the Italian text.
Arnold Oestmann conducts the Radio Symphony Orchestra Stuttgart at the Schwetzinger Festspiele. The video is excellent, the subtitles are clear. And the disc runs at about 20 minutes longer than the 120 minutes shown on the back cover. A delightful addition to any musical collection.
Thursday, May 2, 2013
MARIA TERESA WALBURGA AMALIA CRISTINA d'Ausburgo, duchessa di Milano -- madre dell'imperatore Giuseppe II e di Maria Antonietta, regina di Francia.
Maria Teresa d'Asburgo (Vienna, 13 maggio 1717 – Vienna, 29 novembre 1780) fu arciduchessa regnante d'Austria, re apostolico d'Ungheria,[2] regina regnante di Boemia, Croazia e Slavonia, duchessa regnante di Parma e Piacenza, Duca di Milano e di Mantova e inoltre granduchessa consorte di Toscana e imperatrice consorte del Sacro Romano Impero in quanto moglie di Francesco I.
Fu madre degli imperatori Giuseppe II e Leopoldo II, nonché di Maria Antonietta, regina di Francia, e Maria Carolina, regina di Napoli e Sicilia.
Al battesimo le furono imposti i nomi Maria Teresa Walburga Amalia Cristina.
Sposò nel 1736 Francesco III Stefano, duca di Lorena, che ella stessa fece eleggere nel 1745, nel corso della guerra di successione austriaca, Francesco I, Sacro romano imperatore, in quanto il Sacro Romano Impero non poteva avere un imperatore donna.
Fu madre degli imperatori Giuseppe II e Leopoldo II, nonché di Maria Antonietta, regina di Francia, e Maria Carolina, regina di Napoli e Sicilia.
Al battesimo le furono imposti i nomi Maria Teresa Walburga Amalia Cristina.
Sposò nel 1736 Francesco III Stefano, duca di Lorena, che ella stessa fece eleggere nel 1745, nel corso della guerra di successione austriaca, Francesco I, Sacro romano imperatore, in quanto il Sacro Romano Impero non poteva avere un imperatore donna.
GIUSEPPE II BENEDETTO AUGUSTO GIOVANNI ANTONIO MICHELE ADAMO DAVIDE D'AUSBURGO-LORENA, duca di Milano
Speranza
Giuseppe II Benedetto Augusto Giovanni Antonio Michele Adamo Davide d'Asburgo-Lorena (Vienna, 13 marzo 1741 – Vienna, 20 febbraio 1790) fu imperatore del Sacro Romano Impero e Duca di Milano e Mantova, associato al trono con la madre Maria Teresa dal 1765 e da solo dal 1780, alla morte di lei.
Giuseppe II Benedetto Augusto Giovanni Antonio Michele Adamo Davide d'Asburgo-Lorena (Vienna, 13 marzo 1741 – Vienna, 20 febbraio 1790) fu imperatore del Sacro Romano Impero e Duca di Milano e Mantova, associato al trono con la madre Maria Teresa dal 1765 e da solo dal 1780, alla morte di lei.
SALIERIANA -- melodrammi
Speranza
Antonio Salieri, compositore di musica sacra, classica, lirica e direttore d'orchestra, nacque a Legnago il 18 agosto 1750.
Antonio Salieri, compositore di musica sacra, classica, lirica e direttore d'orchestra, nacque a Legnago il 18 agosto 1750.
Studente di violino presso Giuseppe Tartini, poco più che adolescente, Salieri si trasferì assieme al fratello Francesco prima a Padova e quindi a Venezia per studiare contrappunto alla scuola di Giovanni Pescetti.
Qui a Venezia conobbe Leopoldo Gassmann, Maestro di cappella a Vienna, che, nel 1770, lo volle con sé alla corte di Giuseppe II d'Asburgo.
Nel 1770 Salieri debutta con l'opera "Le Donne letterate", che venne accolta con grande favore, replica il successo con il "Rinaldo ed Armida", rappresentata l'anno dopo e compone, nel 1773, 2 concerti per piano, un concerto per organo ed un concerto per flauto, oboe ed orchestra.
Nel 1774, alla morte di Gassmann, Salieri assunse il ruolo di Maestro di cappella e poi Compositore alla Corte Imperiale Asburgica di Vienna.
In questa veste l'Imperatrice Maria Teresa d'Austria gli commissionò, per l'inaugurazione del Nuovo Regio Ducal Teatro, ora Teatro alla Scala di Milano, "Europa riconosciuta" che venne rappresentata il 3 agosto del 1778 e che lo portò ai massimi livelli di notorietà.
Musicista di talento, Salieri si vide coinvolto, nella rivalità con Mozart, a sotterranee manovre di palazzo, gravato da accuse di plagio che ancora oggi alimentano una contrastante letteratura, dato che, secondo alcuni storici musicali moderni, potrebbe essere stato Mozart ad avere, in più di una circostanza, plagiato Salieri.
Portato all'insegnamento, Salieri, nella sua carriera, ebbe come allievi musicisti destinati alla celebrità: da Beethoven a Schubert, da Liszt a Czerny, Hummel ed uno dei figli dello stesso Mozart.
Fra le sue 39 composizioni per il teatro vanno ricordati i :
"La Scuola de' gelosi" (1778),
"Der Rauchfangkehrer" (1781),
"Le Danaidi" (1784, attribuita in un primo tempo a Gluck),
"Tarare" (1787),
"Axur, re d'Ormus" (1788),
"Palmira, Regina di Persia" (1795),
"Falstaff o sia le tre burle" (1799, tema tratto da Le allegre comari di Windsor di Shakespeare che sarà poi ripreso da Giuseppe Verdi per il suo Falstaff).
Salieri che nella sua produzione musicale vanta anche 26 variazioni su "La Follia di Spagna" (1815) e diverse serenate morì a Vienna il 7 maggio 1825 e venne sepolto al cimitero Zentralfriedhof.
Al suo funerale Schubert, suo allievo prediletto, diresse il Requiem che lo stesso Salieri aveva scritto diverso tempo prima per la propria morte.
Wednesday, May 1, 2013
SALIERIANA -- melodrammi
Speranza
For more than 200 years, Antonio Salieri's obscure opera "Europa Riconosciuta"
was forgotten.
Before its return to La Scala the opera had not been performed since the theater's inauguration in 1778, when castrati sang the leading roles.
That was also long before nasty gossip,
literary hyperbole and Hollywood
myth
helped to sink the Italian
composer into musical history's footnotes as
Mozart's
murderer, and thrust his operas into oblivion.
People think he was a bad guy and a poor composer, but that's not fair.
For
too long people have seen him as uninteresting, and if they
take an interest at all, it is a negative one.
But La Scala's decision to restage the opera for the theatre's s reopening, after a three-year restoration, has turned the site into a kind of rehabilitation center for the 18th-century composer's reputation.
Some of
Italy's greatest opera stars are
performing Salieri arias, while critics
praise
him and Italy swells with national pride.
Suddenly, demand has increased for his recordings and for the clearing of his name.
Few names in music have been vilified so unfairly.
People tend to think of Salieri as the Iago to Mozart's Othello: a spinner of diabolical schemes who eventually is undone by his own jealousy.
The Salieri of
his portraits in La Scala's museum - the prominent nose, pursed lips and
intelligent, if tired, eyes - has nearly been eclipsed by the villainous visage
of, well, F. Murray Abraham.
------
In the 1984 Milos Forman film "Amadeo," Mr. Abraham portrays Salieri as an urbane Viennese court figure and a grimacing hack so threatened by Mozart's genius that he plotted to do away with him.
Shaffer's "Amadeo" increased Salieri's notoriety, but its tag line, "Everything you've heard is true," only enforced centuries of character assassination.
Now, however, Salieri scholars are thrilled at what they regard as vindication.
We see a renaissance for Salieri.
Much of the renewed interest is owed to La Scala.
But some opera specialists believe it is a combination of developments - and divas - that has led to Salieri's resurgence.
The soprano Cecilia Bartoli recorded a
selection of Salieri pieces to promote what she has called a forgotten and talented composer.
Original scores and letters by Salieri are on display at the Palazzo Reale
through January, while one of the composer's largely unknown manuscripts of a 1774 aria fetched an unexpectedly high bid at Sotheby's auction house in London.
It's not as easy as sitting down and deciding together if this will be the Salieri year," said Nick Williams, director of international marketing for Decca Records, which released Ms. Bartoli's best-selling CD.
While a trend was clearly developing, it is difficult to trace the source.
It's a sort of chicken and egg situation but Salieri's profile has been raised.
Music historians have long held that Salieri's compositions merit attention, even if only to better explore the Viennese musical world that orbited Mozart's brilliant star.
Both Salieri and Mozart composed at the Hapsburg court, where Salieri served in various roles for 50 years, 36 of them as court Kappelmeister.
Riccardo Muti, La Scala's music director, recently told the Corriere della Sera newspaper that without the stepping stone of Salieri, it is more difficult to understand Mozart and his masterpieces.
Muti also praised the score for "Europa riconosciuta" which he helped rebuild from a nearly illegible manuscript, saying it showed moments of brilliance that in certain places rivaled portions of "The Magic Flute" by Mozart.
Yet to some critics, Salieri excels only in short arias
and lacks the imagination to sustain longer, more complex pieces.
So not everyone is thrilled about the return of Salieri to the Italian opera scene.
It's not going to enter into the repertoire of any other opera house.
This was the only occasion that justified it.
Maybe it's good for 'Europa Riconosciuta' to resurface every 200 years, but we can safely wait another couple of centuries for the next performance.
That is an unwelcome prospect for the singers who spent as much as a year and a half learning roles marked by flurries of coloratura and lyrical leaps across the scales.
It's the most difficult part I ever sang," said Diana Damrau, one of two sopranos cast as Europa.
"If it's only this one time, it's precious to me.
Plus, maybe I can sing at concerts."
In the neoclassical opera, involving love, violence and political discord in ancient times, Europa, once the lover of Zeus, helps resolve all disagreements after she discloses her identity - thus the title "Europa Riconosciuta"
Ms. Damrau, like many Salieri defenders, argues that Salieri should not be forgotten.
After all, he wrote more than 40 operas and wielded influence on some of music's greatest names.
He counted Beethoven and Schubert among his pupils and often collaborated with Mozart.
When Mozart died in 1791, his widow entrusted Salieri with the tutelage of their young son, a fact that seems to conflict with the murder myth -- unless she was _perverse_.
That tale started circulating decades after Mozart's death, in the last years of Salieri's life - born in Italy in 1750, he died in Vienna in 1825 - because of a rivalry between Italian and German schools of music.
The Germans began spreading rumors that Salieri, an Italian, had had a hand in the death of Mozart, an Austrian.
Years later, the Russian poet Alexander Pushkin used verse to depict Salieri as venomous, an opinion that informed Peter Shaffer's ambiguous but nevertheless accusatory play "Amadeus," which was adapted into the Milos Forman movie.
For many years, the guy was a murderer who poisoned our greatest composer, said Mr. Williams, of Decca Records.
Now, at the Ricordi music store in the arcade across the square from La Scala, there are not enough Salieri librettos to keep up with demand.
And Decca, Mr. Williams said, had to ship more copies of Bartoli's recording to Italian stores to keep them in stock for holiday shoppers.
At La Scala, theatergoers spilling out between the heavy carmine curtains after a recent performance of "Europa riconosciuta" seemed more excited about Salieri the composer than Salieri the alleged murderer.
"It's been a long time since they let him back on the stage," said one audience member, Roberto Gilardi. "And even if he DID kill Mozart, the music is beautiful all the same."
For Mozart's Archrival, there is an Italian Renaissance.
 |
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Before its return to La Scala the opera had not been performed since the theater's inauguration in 1778, when castrati sang the leading roles.
People think he was a bad guy and a poor composer, but that's not fair.
But La Scala's decision to restage the opera for the theatre's s reopening, after a three-year restoration, has turned the site into a kind of rehabilitation center for the 18th-century composer's reputation.
Suddenly, demand has increased for his recordings and for the clearing of his name.
People tend to think of Salieri as the Iago to Mozart's Othello: a spinner of diabolical schemes who eventually is undone by his own jealousy.
------
In the 1984 Milos Forman film "Amadeo," Mr. Abraham portrays Salieri as an urbane Viennese court figure and a grimacing hack so threatened by Mozart's genius that he plotted to do away with him.
Shaffer's "Amadeo" increased Salieri's notoriety, but its tag line, "Everything you've heard is true," only enforced centuries of character assassination.
Now, however, Salieri scholars are thrilled at what they regard as vindication.
We see a renaissance for Salieri.
Much of the renewed interest is owed to La Scala.
But some opera specialists believe it is a combination of developments - and divas - that has led to Salieri's resurgence.
The soprano Cecilia Bartoli recorded a
selection of Salieri pieces to promote what she has called a forgotten and talented composer.
Original scores and letters by Salieri are on display at the Palazzo Reale
through January, while one of the composer's largely unknown manuscripts of a 1774 aria fetched an unexpectedly high bid at Sotheby's auction house in London.
It's not as easy as sitting down and deciding together if this will be the Salieri year," said Nick Williams, director of international marketing for Decca Records, which released Ms. Bartoli's best-selling CD.
While a trend was clearly developing, it is difficult to trace the source.
It's a sort of chicken and egg situation but Salieri's profile has been raised.
Music historians have long held that Salieri's compositions merit attention, even if only to better explore the Viennese musical world that orbited Mozart's brilliant star.
Both Salieri and Mozart composed at the Hapsburg court, where Salieri served in various roles for 50 years, 36 of them as court Kappelmeister.
Riccardo Muti, La Scala's music director, recently told the Corriere della Sera newspaper that without the stepping stone of Salieri, it is more difficult to understand Mozart and his masterpieces.
Muti also praised the score for "Europa riconosciuta" which he helped rebuild from a nearly illegible manuscript, saying it showed moments of brilliance that in certain places rivaled portions of "The Magic Flute" by Mozart.
Yet to some critics, Salieri excels only in short arias
and lacks the imagination to sustain longer, more complex pieces.
So not everyone is thrilled about the return of Salieri to the Italian opera scene.
It's not going to enter into the repertoire of any other opera house.
This was the only occasion that justified it.
Maybe it's good for 'Europa Riconosciuta' to resurface every 200 years, but we can safely wait another couple of centuries for the next performance.
That is an unwelcome prospect for the singers who spent as much as a year and a half learning roles marked by flurries of coloratura and lyrical leaps across the scales.
It's the most difficult part I ever sang," said Diana Damrau, one of two sopranos cast as Europa.
"If it's only this one time, it's precious to me.
Plus, maybe I can sing at concerts."
In the neoclassical opera, involving love, violence and political discord in ancient times, Europa, once the lover of Zeus, helps resolve all disagreements after she discloses her identity - thus the title "Europa Riconosciuta"
Ms. Damrau, like many Salieri defenders, argues that Salieri should not be forgotten.
After all, he wrote more than 40 operas and wielded influence on some of music's greatest names.
He counted Beethoven and Schubert among his pupils and often collaborated with Mozart.
When Mozart died in 1791, his widow entrusted Salieri with the tutelage of their young son, a fact that seems to conflict with the murder myth -- unless she was _perverse_.
That tale started circulating decades after Mozart's death, in the last years of Salieri's life - born in Italy in 1750, he died in Vienna in 1825 - because of a rivalry between Italian and German schools of music.
The Germans began spreading rumors that Salieri, an Italian, had had a hand in the death of Mozart, an Austrian.
Years later, the Russian poet Alexander Pushkin used verse to depict Salieri as venomous, an opinion that informed Peter Shaffer's ambiguous but nevertheless accusatory play "Amadeus," which was adapted into the Milos Forman movie.
For many years, the guy was a murderer who poisoned our greatest composer, said Mr. Williams, of Decca Records.
Now, at the Ricordi music store in the arcade across the square from La Scala, there are not enough Salieri librettos to keep up with demand.
And Decca, Mr. Williams said, had to ship more copies of Bartoli's recording to Italian stores to keep them in stock for holiday shoppers.
At La Scala, theatergoers spilling out between the heavy carmine curtains after a recent performance of "Europa riconosciuta" seemed more excited about Salieri the composer than Salieri the alleged murderer.
"It's been a long time since they let him back on the stage," said one audience member, Roberto Gilardi. "And even if he DID kill Mozart, the music is beautiful all the same."
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