Ysobel Colbran | L'Ulisse errante

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Pesaro | Pavarotti’s “Buen retiro”

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!

December

Rossini’s revolution and the transition to a new era

Gioachino Rossini embodied quite well the ideals of the Restoration, at least in the choice of traditional and already tested subjects. Yet, on the other side, his music was completely revolutionary for its novelty: rhythmic energy, robust orchestral texture, dynamic melodies are some of the elements of his new style.

December

The transition between 18th and 19th century in Opera

Opera, until then the favourite entertainment of aristocracy and educated classes, was going to change radically as a consequence of the French revolution. In the three decades of the rise and fall of Napoleon, opera social function changed completely and irrevocably.

January

Un Ballo in Maschera | Giuseppe Verdi

A troubled genesis Un Ballo in Maschera is arguably one of most popular opera by Giuseppe Verdi. Yet it had the most troubled genesis. Written for the San Carlo in Naples and never performed there Un Ballo in Maschera was originally composed to be staged in Naples as the last new opera written under the contract between the Teatro San Carlo and Verdi but was never performed there. The major changes imposed by the Bourbon censorship to the composer convinced Verdi to premiere it in Rome instead. Even the Papal censorship in 1859 allowed him more freedom than that of the Bourbons’. Last (missed) opportunity for a Verdi’s “King Lear” Initially, Verdi had suggested to the San Carlo management another subject: King Lear by William Shakespeare, a long-term project that this time seemed to finally have found a right opportunity. But a new problem came up. To stage King Lear 2 or 3 strong soloists were not enough: 5 at least were needed and the San Carlo couldn’t provide them. These circumstances convinced Verdi, after over 15 years, to finally abandon the project of staging a music version of King Lear. Verdi & Shakespeare Verdi was a great admirer of […]

Castenaso | Rossini marries Colbran in a sanctuary

The little sanctuary of “Our Lady of the Pilar” The tower of the little Sanctuary of…

Tag Archives: Ysobel Colbran

Pesaro | Pavarotti’s “Buen retiro”

Rossini’s revolution and the transition to a new era

The transition between 18th and 19th century in Opera

Un Ballo in Maschera | Giuseppe Verdi

Castenaso | Rossini marries Colbran in a sanctuary

L’Ulisse Errante

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