Pleasant Verona! With its Roman gates, still spanning the fair street, and casting, on the sunlight of to-day, the shade of fifteen hundred years ago. With its marble-fitted churches, lofty towers, rich architecture, and quaint old quiet thoroughfares, where shouts of Montagues and Capulets once resounded, and made Verona’s ancient citizens Cast by their grave, beseeming ornaments, To wield old partizans. With its fast-rushing river, picturesque old bridge, great castle, waving cypresses, and prospect so delightful, and so cheerful!
The house has an unbeatable location. Situated halfway up the hill that gradually becomes mountain, the San Bartolo – the only high stretch of coast on the Adriatic sea along with Trieste and Ancona – it faces a large bay. A lush vegetation surrounds the white building from early spring to late autumn. During summer it provides a shelter from the heat of the blazing sun and also from the curious eyes of the bathers crowding the beach – mainly locals as this is not a trendy beach; it’s simply a nice place -. Vegetation could not, however, shield the sounds. So, in the years gone by, it was quite common for people lying on the beach – including me – to hear the Maestro’s powerful voice singing a piece or some musical charade. It was quite something!
At the end of 19th century it became clear that the style used in opera until 1890s couldn’t be used any more: the great social and cultural changes demanded new ways to express and increase the dramatic tension. The music coming from abroad (oltr’alpe-beyond the Alps) was becoming increasingly important. The new younger generation of composers, such as Puccini and Mascagni, where influenced not only by Wagner but also by younger composers such as Claude Debussy and Richard Strauss. Pelléas et Melisande premiered in 1902, Salome (1905) and Electra (1909), Strauss’s two breaking through operas, had a rapid success. Change demanded from older composers a conscious and radical effort while for those born after 1875 and used to the new music as part of their musical landscape, the transition to new ways of composing operas was more spontaneous, although different in nature and magnitude for each composer. Some composer intended their relationship with nineteenth-century Italian opera as “evolutionary” and continued to work within the traditional framework using at times new techniques and dramatic themes. Others felt that Italian music needed to break free from an opera that had become a stale entertainment for the new middle class and that a […]
What is Rigoletto it about? This sounds like a simple question, which could be answered by telling the story of the Duke of Mantua, the city of Mantua, his hunchback jester and the jester’s daughter, Gilda. A story of love, deception, revenge, and death. The story, of course, is so close to the one told by playwright and poet Victor Hugo in his play Le Roi s’amuse (The King has fun), that they could appear the same thing. But anyone who loves opera will not be satisfied by this explanation. In the best operas, music is much more than an accompaniment to the story: it is through the power of music that the story unfolds into the drama. Verdi fell literally in love with Hugo’s play and was determined to translate it into music; despite his librettist Francesco Maria Piave‘s concerns, particularly over the fourth act culminating in the deposition of a dying Gilda in a bag. In a letter dated June 1850, Verdi explains the reasons he suggested as a title for the opera Monterone’s curse or, by the short, The Curse. “The subject is the curse as a moral element: A distraught father who mourns the honor taken away from his daughter, a […]