Archive: November, 2010

World AIDS Day

Silence = Death

Silence = Death

1 December is World AIDS Day. AVERT, the organizers of World AIDS Day, report:

According to UNAIDS estimates, there are now 33.3 million people living with HIV, including 2.5 million children. During 2009 some 2.6 million people became newly infected with the virus and an estimated 1.8 million people died from AIDS. The vast majority of people with HIV and AIDS live in lower- and middle-income countries.

Arts communities once marked 1 December as the Day Without Art. In honor of this tradition, and to mourn the friends that your curator has lost to the AIDS pandemic, Verdi Duecento will go silent on 1 December. Please visit the World AIDS Day website to learn more.

Verdi and floræ

Sant'Agata

In his biographical notes about Verdi, Arrigo Boito wrote at length about Verdi’s estate, Villa Sant’Agata, and Verdi’s love for nature.

Among colors, he answered, the one I like best is red (a peasant’s taste, he added).

Among flowers: The rose, the blood-red, almost black variety the best.

Among plants: The durmast oak, the poplar, the weeping willow.

And all of these preferences befit him: The oak because it is strong; the poplar because it is straight and tall; the weeping willow because it is romantic and sad.

In May 1872, Verdi wrote an amusing letter that touches on gardeners and gardening to one of his greatest friends, Countess Clara Maffei.

Dearest Clarina

Peppina, many days ago, ordered that fellow whom we call our gardener to make a great basketful of many different flowers to send to you. This so-called gardener of ours came to me completely mortified, saying that he had almost no flowers except roses, first of all because I have him plant very few flowers; and then because the few flowers that there were had been ruined by many rainstorms.

After all, you know that this so-called Garden of mine consists of twelve willows, eighteen poplars, and twenty-four rose bushes!!! I adore flowers, but to have beautiful flowers one must have a Great Gardener… I detest all tyrannies, especially domestic ones. Great Gardeners, Great Cooks, Great Coachmen are the true tyrants of a home. With them around, you are no longer free to touch a flower in your own garden, to eat a simple egg with salad, to make use of your horses if it’s raining or too sunny! Etc. etc. etc.

No, no: I alone am enough of a tyrant in my home, and I know the effort that this costs me!!! Nonetheless, I am a tyrant who always ends up doing what I don’t want to do. The proof? I write operas… It’s the thing I like doing least of all!! Quelle blague!! Forgive, then, my so-called gardener if he has no flowers that are beautiful and worthy of being sent to you.

And you, my dear Clarina? How are you? I hear that you suffer from strong migraines. Take care of yourself and try to keep calm and still. A little Sant’Agata would do you much good! Would you like to come? I’ll come up to Milan to fetch you. You know well how glad Peppina and I would be!

The beautiful photo of Sant’Agata is © gbroccardi.

Verdians: Rosa Ponselle and Ezio Pinza

Rosa Ponselle and Ezio Pinza set down this recording of “La Vergine degli Angeli” from La forza del destino in 1928. Any commentary would be superfluous.

I read in an Italian-language book about Verdi that a humble country priest sent a telegram when Verdi died. It said, simply, La Vergine degli Angeli vi copra del Suo manto—“May our Lady of the Angels cover you in Her mantle.”

It is Thanksgiving weekend here in the States. To all who keep the holiday, a happy and healthy Thanksgiving! Updates to Verdi Duecento will resume on 29 or 30 November with a very special interview. A presto!

Fanciulla100

Giacomo Puccini

Giacomo Puccini (1858–1924)

10 December marks the centenary of Giacomo Puccini’s La fanciulla del West—in my view, his greatest opera.

Fanciulla100 is a media-rich website created to celebrate this important landmark. Fanciulla 100: Celebrating Puccini is the name of a symposium that will be held on 6 December at Boston University. Participants include Harvey Sachs, David Rosen, and Deborah Burton.

I, alas, have other commitments that day, but I look forward to hearing and reading the reports of attendees.

Verdi on Berlioz

Hector Berlioz, c. 1863

Hector Berlioz, c. 1863

The translation of the following letter is from Letters of Giuseppe Verdi by Charles Osborne. (Most translations at Verdi Duecento are by me unless otherwise indicated.)

This letter is from 1882; Berlioz had been dead since 1869.

…Berlioz was a poor, sick man, furious with everyone, bitter and malicious. His talent was very great and acute. He had a feeling for instrumentation, and he anticipated Wagner in many orchestral effects. (The Wagnerites don’t admit it, but it is so.) He lacked moderation. He lacked the calm, and what I call the equilibrium, to produce complete works of art. He always went to extremes, even when he created something praiseworthy.

His success for the time being in Paris is in great part justified and merited, but reaction has even more to do with it. He was so badly treated when he was alive! Now he is dead! Hosanna!!

By the way, Berlioz reportedly attended at least one of the concerts that Giuseppina Strepponi gave after she moved to Paris in 1846 and admired her greatly.

Welcome!

Giuseppe Verdi tweets!

Giuseppe Verdi tweets!

Welcome to all readers of Jesse Cohen’s wonderful blog, The Gramophone and Typewriter Company. I am so grateful to know Jesse, and especially grateful for for his kind words!

Please follow “Giuseppe Verdi” and “Peppina Verdi” on Twitter at verdi2013 and peppinaverdi. I mostly tweet phrases from the letters of Verdi, Giuseppina, and their friends and colleagues; I also tweet Verdi Duecento updates. If there is sufficient interest, I will translate the “authentic” Verdi and Giuseppina tweets into English.

I also blog about Maria Callas (on Blogspot for now, though the blog will migrate to WordPress). My main website, a portal to my various projects, is mondo marion.

Again, welcome to all readers, and Viva Verdi!

Verdians: Pol Plançon

The bass Pol Plançon (1851–1914) studied under Gilbert Duprez, who created the rôle of Edgardo in Donizetti’s Lucia di Lammermoor and was renowned for his do di petto (high C sung “from the chest”) and splendid enunciation. Duprez passed the latter gift along to Plançon, who was a complete operatic artist, by which I mean a master of words who also possessed all the basic skills of singing, including command of legato, trills, gruppetti, runs, and the like.

Maria Callas was right about this, you know:

A singer is no different from an instrumentalist except that we have words. You don’t excuse things in a singer you would not dream of excusing in a violinist or pianist. There is no excuse for not having a trill, for not doing the acciaccatura, for not having good scales. Look at your scores!

Plançon claimed to have modelled his vocal technique on Jean-Baptiste Faure’s. Faure created the rôle of Rodrigue in Verdi’s Don Carlos as well as several other major parts.

This portion of Philippe’s “Elle ne m’aime pas” does not show off Plançon’s agility but does showcase his aristocratic style, crystalline enunciation, and beauty of tone throughout his range.

Verdians: Philip Gossett III

Philip Gossett (Cav. Gr. Croce)

Philip Gossett (Cav. Gr. Croce)

This is the third and final installment of Verdi Duecento’s interview with Philip Gossett. Please read “Verdians: Philip Gossett I” and “Verdians: Philip Gossett II.”

Where do we stand with editions of Otello and Falstaff? Many people are not aware that Verdi made significant revisions to these, his final operas.

We can’t do them yet. While the Verdi family has been helpful with some things, they do not currently want to cooperate.

Continue reading “Verdians: Philip Gossett III” »

Review: The Story of Giuseppe Verdi

The Story of Giuseppe Verdi by Gabriele Baldini

Gabriele Baldini, The Story of Giuseppe Verdi

My desert-island book about Verdi is Gabriele Baldini’s Abitare la battaglia: La storia di Giuseppe Verdi (in the handsome English translation by Roger Parker, The Story of Giuseppe Verdi: Oberto to Un Ballo in Maschera).

Baldini was neither a trained musician nor a Verdi scholar. He was a professor of English literature, a specialist in Elizabethan and Jacobean drama. He died in 1969, before completing Abitare la battaglia. Though long in print in both English and Italian, the book is not so well known as it deserves to be, in part because some specialists look down upon Baldini’s “amateur” approach to Verdi and his operas.

That said, I recently shared Abitare la battaglia with a professional musician who is both a deep reader and a celebrated Verdian. His response: Baldini è un genio.

Continue reading “Review: The Story of Giuseppe Verdi” »

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