Zyban Drug_side_effects

George Prêtre con la Filarmonica

Last night the venerable George Prêtre - will make the 87 springs in mid-August - is back to direct Philharmonic in a concert Cesar Franck juxtaposed with Ottorino Respighi . On this occasion he was awarded the title of honorary member of the Association, having been among the first to conduct the orchestra after his birth, back in 1982.

the Belgian composer has been carried out (relatively) famous Symphony in D minor . That is 1886-88, then the same age, just to name a few in the symphonic field, the Fifth of Ciajkovski, 's Dvorak's Eighth, the Third (the one with the body) and Saint-Saens Before the Mahler. Then, in the world of music program, Aus Italien of Strauss, Sheherazade by Rimsky. And even the Fauré's Requiem. But the opening words of the symphony comes directly from Walküre (Act II, Scene IV):

Then, still in the first movement, there are more or less clear signs of Tristan , demonstrating that the revolution had truly Wagnerian music infected the entire planet. As for the cyclical form, with the themes of the first two movements that come back, changed, last, was not new, but rather a real fashion (in the positive sense) of the time, as evidenced widely the works of contemporary and Ciajkovski Mahler.

The structure of the first time (very long, nearly 20 ') is freely interpreted sonata form: the opening theme in D minor comes in time Slow , then restated in Allegro not too . Then the process (Lento-Allegro) is repeated, but the key to raising F minor. Now Frank has a new theme, in F major , resulting in the famous peroration:

follows a complex development, again D minor and F major (where exactly can hear vague echoes tristaniane), contrasting the two issues, and that leads to a spurious recovery: the first theme is presented in Slow FA and lower by trombones and tuba, then Allegro by the strings in Eb minor . One more digression of the first theme in G minor , then enter the second in D major . We return to D minor by the tail, but the conclusion is quite unpredictable, with the initial cell of the first subject exposed in G minor , three times, imperiously to lead in the final D major , Accented by the F #.

Prêtre gives a reading of their severe, and those dark times kept to a German sound that many have criticized the appearance of the work.

L ' Allegretto - here Prêtre places the wand on the laws of shoulder and head with his bare hands - principles Bb minor, with the delicate issue of the English horn:

followed by another long melody in Bb major, first the return of the English horn, to a lesser, with the first theme. Here then moved an interlude, in which string and wind are exchanged fragments of the theme, but then suddenly emerge - excellent here in Prêtre Out - a new theme by clarinets, Eb major, full of chromaticism:

theme taken up and widely developed by the strings. Back to the first issue, even in the English horn, first in G minor , then again in Bb minor, as in the beginning, then mixed again with the second, closed to Bb major.

English horn of the protagonists here Duke Renato, well backed by the horn Roberto Honey: the first will, eventually, to be called by Prêtre for applause individual.

Master risfodera wand to attack by his par on the third and final (!) Movement, which opens with a theme to say the least, unrealistic, exposed by bassoons and cellos in D major on decided tremolo strings, after 5 dry winds of agreements:

theme that serves as scaffolding to this kind of sonata form, followed dal secondo, più dolce cantabile , in SI maggiore, esposto dalle trombe, con accompagnamento delle cornette e di tromboni e tuba:

Ripreso poi dagli altri strumenti, fino all'ingresso, in SI minore , del tema dell'Allegretto, esposto dal corno inglese e dai legni, cui subentra ancora il dolce cantabile , ora però più pesante, in tutta l'orchestra.

Si ricapitolano i temi principali, con modulazioni in diverse tonalità (LAb, SOL). Ancora il tema dell' Allegretto fa in minor head nell'oboe, then the main theme of the final re-emerging in D major , but that of ' Allegretto - always minor - explodes arrogant. We are truly a giant put-pourri where everything is just Wagner, summarized: back, Bb, the second theme of the first movement, then also the first to the counterpoint.

Finally it suggests the theme of the final leading to the conclusion, which reiterates here so well prepared, not improvised, the epilogue of the first movement, with a lot of F # to stand out in the positive agreement of D major.

Applause intense, but maybe not so crazy for this symphony, which obviously is still struggling to make his way in the consideration of pubbblico.

After the break (with a curtain of treasure hunt on the stage: some part missing?) Respighi here we are, with the first two of the three Roman tone poems , compounds over the years, between 1916 and 1928. First Fountains of Rome, which now appears in the second violins - to introduce the theme in the oboes debussy - a vague recollection Mahler:

are the first bars of Einsame Der im Herbst , set, incidentally, near a pond, where you can hear the slow splashing, which refers the soft drip of the fountain of Valle Giulia. Following two sections move with the patch of sunlight that floods the Triton in the early morning, and then the phantasmagoria of the Trevi fountains and waterfalls. It ends with the sunset of the Villa Medici, languid as the mirror of the circular water fountain, and punctuated by the tolling (as many as 29!) Of the bell.

Prêtre, who directed still no stick, just in time to drop the arms, which suffered some applause from the gallery part: it is almost caught him, then turns his head only to the first rows of the house ... finally does pick up the package of wood, for gratify the just recognition, before turning to pick up the applause, now roaring, around the theater.

then resumed his wand to close with Pines of Rome. Introduced by the English horn and bassoon, with the punctuation of horns that sing - to Villa Borghese - the folk Oh how beautiful daughters Madame Dore :

It is not the only rhyme that appears in this picture opening, shortly after here is in fact a couple of turning-circle, first introduced by the strings and woodwinds in the canon, the second from the oboes and clarinets:

that is repeated several times until it flows into the gloomy passage at Catacombs, with its crooked performance on 5 / 4, full of repeated notes.

In Pini del Gianicolo , at the very end (last 10 bars and a half) is expected to sing a real nightingale : no, not in a cage and feathers and bones, plus it would also accompany the trainer to give him the right ... In the score attack is seen as a tape recording (at the time the mp3 could be at most of the muskets) complete with product code, for those who want to buy a copy:

Often it mimics some bait quail, more than a nightingale ( smile! ) as here at 6 ': 39 ".

In concluding The Pines of the Appian Way, after a long solo English horn, appear six conches, especially unicorns huge marches that accompanied the Roman legions. Respighi - which also will feature three Roman Festivals - requires the score of flugelhorns (2 sopranos, 2 tenors and 2 basses), here replaced by two trumpets, two trombones and two tubes. The pounding rhythm of drums and bass drum, they are bringing all'enfatico epilogue of the work.

Great triumph for teachers and professors. From the gallery to the podium rain tulips in quantity (one centered in the middle of the ringleaders of the director!) That gives us a reception to thank his classic a : Entr'Acte et Barcarolle Les Contes d'Hoffmann by . And no one better than he knows how to offer it to touch the most sensitive strings of the listener!
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Gli opposti estremismi del loggione scaligero

The recent (indeed, still playing) Tosca Scala has gave rise to polemic - which almost took implications bloody (!) - which still fill jig and jig memory of the server various blog and forum well that being the subject of some newspaper blurb, or transmission of our nice cultur-radio . As for football and politics (more national sport, smile! ) form factions and supporters totally impervious to reason (!?) Of other . Some flash.
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Some people are angry that if one is left behind screams buuuh! because - he says - it unduly disturb and ruin the evening and left the eardrum. But if, simultaneously, another that's right behind you starts screaming good! to split the right eardrum, no, that does not interfere at all, nor ruin your hearing. How do you explain the mystery? That the first would be a career wrecker interpreter and worse still muddy the good name of the theater, while the second is a hero who sacrifices himself for the noble cause of defending the fatherland, and we should erect a monument. It is also the opposite, reversing incazzatura with appreciation and saboteur with hero.
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right is heard a blast of raspberries: Scala is not seen - and especially does not feel - at least 40-50 years, a wreck after another. Because the theater has fallen into the hands of a puppet manipulated by a hideous crack-global-capital-star-system Marketta che intende distruggere il bel-canto , per sostituirlo col bel-conto . E così anche il più sprovveduto e viscerale ignorantone - venuto a teatro per pura curiosità e che ha ingenuamente e incolpevolmente mostrato di gradire ciò che gli è stato propinato – passa per strumento involontario di creazione del consenso verso la cricca . Quindi un nemico da zittire, o da intimidire a suon di buuh .
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A sinistra risponde uno squillo di peana: l'ultima Tosca della Scala (come l'ultima Carmen, o gli ultimi Pagliacci) sono edizioni di riferimento millenario, mai ascoltato e visto nulla di più sublime; gli interpreti - Musicians and filmmakers with them - they deserve to be transferred on the spot in the empyrean of the chief bards, to prevent them from embalming directly decay. Any dissenters are by definition of saboteurs and should be pursued as such.
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We wonder then if the factions are found outside the theater for the performance-of-accounts?
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Now you need only wait for the next game (though, we want to bet? not Death in Venice, which is cricket, not soccer ...) to attend a new bet these learned and civil discussions.

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Every Poptropica Account

Stagione dell’OrchestraVerdi - 24

After Porgy & Bess , the Auditorium will once again host American music. There is, as one would expect given the title, the flamboyant Wayne Marshall, but the less flashy (I speak of the aspect, not capacity, of course) Giuseppe Grazioli.

Wonderful Town is a musical comedy, whose soundtrack was composed by a 35 year-old Lenny Bernstein in 1953. These 18 numbers arranged in two acts, the more Entr'Acte Ouverture and the second part. The 11 performers - all baked by Yale School of Music, are arranged on the bottom, in the-chorus, with the aid of amplification, to their left, watching the scene, percussion, bass in the orchestra sees the line, just in front of the singers below the line of woodwind instruments and to the left, the the brass band, where the horns are replaced by five saxophones. Right timpani and piano. Strings arranged by the violas to the stage.

The three main characters are two enterprising sisters Ruth and Eileen Sherwood , arrived from Ohio (tear their why, oh why, oh ) to make his fortune in the Big Apple , and the seemingly cynical Bob Baker, a hack of a magazine of short stories. Around them, others appear more or less desirable, which trouble melting-pot of Manhattan, where intrigues and deceptions are mixed on more or less clean. It makes the costs triggered Eileen, after having brought the climax to Conga danced by Brazilian cadets - who tried to interview her sister (!) - Is brought to jail by the vice squad. So ends the first act.

In the second part, after the curtain tasty Irish the prison, we have one of climax of the play, the great Swing , where highlights Fausto Ghiazza with daring virtuosity of his clarinet. The happy ending for all - Eileen that breaks through the Village Vortex and Ruth accaso you (so to speak) with Bob - is guaranteed by the optimism that could not miss a show in the U.S., even New York, the frantic war.

Well done singers to make the most of the climate of the play, despite the absence of the scenes, which are crucial ingredient in this kind of show.

In orchestra, great performance by all, especially wind instruments and percussion, which obviously are the masters here, greeted by cheering their American . And there's some here. A mo 'of a , here Jennifer Feinstein ( the funny story of Ruth ) to the tune of Conga , leads his catwalk in an overwhelming, with lots of hiking in the stalls, in the audience that applause from the beat. But what happens on stage is incredible, something that maybe would horrify any of vestal temple : professors - All regular jacket or long queues - get up and continue playing, he unleashed a frantic time in their moves, just disco. Imitated by even the shy and reserved Grazioli! In short, a veritable feast of people, those that are good for health, in times of feuds of the gallery and made-of-accounts on the platform of Piermarini.

From March 3 to make it back in earnest, with Xian Zhang in a program nothing short of magnificent.
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Paying For A Wedding And Tax

Tosca (di Bondy, purtroppo) alla Scala

After Cavalleria-Pagliacci (or vice versa!) Here is still a classic end of the Italian opera at La Scala-800. Introduced by an extensive presentation by Professor Michael Girardi (not to be confused with Enrico Girardi, eye ...) an authority on the subject, in the usual appointment Before the first of 9 last year. In fact - I am sadistic, perhaps, in this exhortation - but before entering the theater to enjoy (or curse) the show, everyone should read - even better: study - an analysis like this (see pp. 37 et seq ) drawn up by its Girardi, years ago, La Fenice . Certainly, from reading this analysis as you would a concrete idea (Even better if you throw even a glance at the score) what is the 'original , so you can then appreciate or criticize the performance - and stage musical - with a minimum knowledge of the facts and not on the basis of more or less impromptu and visceral sensations. Otherwise, its better not to rise while decent, but visceral sensations in absolute judgments of conviction or that sanctification. (I am not speaking here of opinions - one way or another - for various reasons interested ).

Cast announced for months and months and - regularly - piece by piece on the eve of the first . There is still a whole month of winter, so I expect other victims (one already announced for Britten, but I bet you will save Francesconi ) But I'm Mozart, Puccini, Gounod, Verdi and Rossini, would not trust even in spring and summer: the inside Piermarini drafts must be increasingly sbifide.

The first of 15 - kept strictly secret, like every other replica, the spread radio-tele-web (guilty conscience, as the inversion Pag-Cav, dear Lissner ?) - Seems to have been recently passed the second tradition: between mockery, rather than disputes, director, and some noisy claims buh for the poor Kapellmeister . By certain defined, in practice, a choirmaster in while others have already elevated to the rank of prophet (it may be because of his origin from biblical sites, smile! ) Home mixed that - again according to the news - it was repeated in the second (which recovers Dyka ) and third, in which nothing had emerged from the beautiful Jonas . Yesterday? Instead, as well. The gallery seemed to me divided between the center-right (thunderous applause and bravo! unrestricted educational) and left (second floor, in particular, from which they rained heavy buh the main protagonists, the director also excluded). That the gallery has become a mirror of the country's political , divided into factions and extremists on both sides?

Yesterday evening performance Meir Omer Wellber frankly I thought that was commendable, perhaps because the fourth round of the harmony with the orchestra and performers could be improved. Sometimes I personally find excessive noise (not the bells, as reported by someone with previous performances) but fortunately never to cover the song, for the one direction than the rest of the score, so far from stigmatizing, nor by Buarì. Of course, from here to see the Messiah in Omer there and runs much of the rest, having 30 years, we can only improve still, unless they fall victim to the syndrome of early fame.

Zeljko Lucic Scarpia is an indecent in terms of acting, but this is almost certainly attributable to the director (see below). Conversely, the sounds that came out of his mouth, but not enchanting, I have seemed at least decent and he's not worthy of the portion of buh arrivatigli along with applause. Impressive la sua entrata nel primo atto ed abbastanza efficace anche la sua prestazione nel secondo, forse con qualche eccesso di declamato/gridato. Per me, comunque, dovrebbe citare il regista per procurato danno di immagine .

Oksana Dyka , come già di recente in Pagliacci , ha mostrato doti naturali notevoli accompagnate da una certa immaturità. Paradigmatico il suo Vissi d'arte (unica aria su cui il pubblico è intervenuto, col loggione diviso fra brava! e buh ) in cui ha sfoggiato gran chiarezza di suono, accompagnata da una certa monotonia nell'espressione (e da un singhiozzino anticipato, the Lord Ah ) In short, a decent performance from this 33 year old, to me worthy of encouragement.

The star-reviving Jonas now know it, in every way: out loud, a true giant in mezzo-forte and piano, or throat or head. The scene is the only one to give a damn (again: for better or for worse) the director: he's always him, Werther, Jose, Mario, all made with the same stencil. At the end of the mix for him bravo! and buh : in this case (for me) quite appropriate in proportion to their positive and negative qualities described above (smile!)

Spoletta of the Bravo Luca Casalin , at least as performance / difficulty.

Renato Girolami was the Sacristan, the director has stubbornly ridiculed. Enough to be his vocal performance.

A fair Angelotti was Deyan VATCHKOV while Davide Pelissero and parsley Ernesto Panariello they are earned the loaf, dressed as Sciarrone and prisons. From praise also for the provision of "shepherd" Barbara Massaro .

On its usual standard of the choir Casoni, complemented by white voices, well that made the climax of the Te Deum , despite the director.

is precisely the staging: the fact that the MET and Munich had already forewarned us not detract from the feeling of true pain you feel watching this buffoonery. Unfortunately, in addition to suffer the contingencies of the season, Tosca must have some strange and mysterious power: is indigestible to many people. She was the idiosyncrasy of the famous Mahler for this work (not for Puccini , attention) he described it, at first and maybe only play a masterful job sloppy, that any apprentice shoemaker was able to write ... and therefore never directly and consistently in his life.

Here Luc Bondy must be done to influence opinion by Mahler, and then decided - its goodness - to rewrite Tosca. Interesting and instructive as you listen to this in his interview , where the director explains his approach. Around 1 ': 10 "Our stated candidly that the booklet (about the murder of Scarpia) is stupid and then he (the genius!) We had to get their hands, showing Tosca threatening to jump from the window (apperò!) Shortly after (1 ': 43 ") to justify its brutality, Bondy shoots' authentic carrion, saying Sardou was often at odds with Puccini choices about the book, and just as we talk about the final seconds. This is a resounding false: there were indeed differences between Sardou and librettists of Puccini, but always sided with the composer, playwright, librettist and convinced her to follow him. The conclusion of the act is even-even, but just the smallest details, such as describes Sardou, it portrays her as Bondy! And the same goes for the final third, where Puccini imposed to comply with the drama of Sardou (Tosca throws herself from the glacis) to his librettists, determined to make a ridiculous tristaniana Liebestod. Still, 2 ': 02 "Luc says the white" is not original! , "and then" is nothing original or special, it is only a work . "And then claim the right to do litter (?) In short, parody and desecration high absolute principle. A 2 ': 45 "papers you are then in an argument without rhyme or reason, saying that Puccini is not Berg (but he played well the scene torture, our genius?) and Schönberg was an admirer of Puccini, but there was always rivalry between them (sic) Then, his kindness, he acknowledges that Tosca (with Salome) is the top work , is very good, but this is not enough (?) Well, I was either drunk, or is completely out of Melonera.

Question: But if you go to work not genius, my dear Luc, why do not you limit yourself to just ignore it, as did the wise Gustav? Occupied else, such as chocolates, instead of relentlessly on a subject that you despise. This was soundly challenged directing at the MET in 2009, then to Monaco in 2010 it was said, by the nostalgic Zeffirelli. But Buarì is still nothing here we would like severe punishments and fines for perpetrators of such atrocities. How Bracardi cried? In jail!

our In Milan - which demonstrated a good dose of cowardice (read: not having the courage of their choice) - has watered down or eliminated more details irreverent (who has not seen the live MET and the performances of Monaco, or has lost the dissemination of art , large documents can be found on youtube testifying to decide on the verge of provocation made by the Swiss director) believing it to get away with cheap (or thinking that the Italian public is made by bigoted troglodytes, not smart enough to understand a genius like him). In practice, its mix + parody has taken away the desecration desecration. So you guess what's left ...

His main victim, as a representation of the characters, it is the poor Scarpia , which is not really a supporting actor insignificant, but none the wedge that supports the entire structural work time. In the first act, in church, at the end of Te Deum, Scarpia of the Bondy evita (come faceva al MET) di palpeggiare la statua della Madonna (forse perché qui siamo a Milano, a duecento metri dalla Madunina ) ma le si avvicina fin quasi a baciarla sulla bocca! Sarebbe questo il modo di rappresentare la sua perversa personalità, il suo abietto uso della Religione e della Politica per soddisfare la sua concupiscenza ( Tosca, mi fai dimenticare Iddio )?

Nella scena iniziale del secondo atto, avevamo visto (al MET e a Monaco) Scarpia farsi pompinare non da una, ma da tre puttane, regolarmente pagate in contanti dallo Spinelli … ops, dallo Sciarrone di turno. Alla Scala il blowjob è censurato (c'è paura del mite Tettamanzi, per caso?) ma il risultato non cambia. Bondy – da svizzero, pur zurighese – dovrebbe conoscere un po' di italiano; altrimenti, chieda al primo che passa per la strada di spiegargli cosa canta Scarpia, in modo da farsi un'idea di quale pasta sia fatto il barone siculo al servizio dei borboni appaltato dal Vaticano . Ha più forte sapore la conquista vïolenta che il mellifluo consenso . Che è la splendida, fulminante e concisa rappresentazione dell'originale di Sardou : Une femme qui se donne, la belle affaire ... Rassas J'en suis de celles-là! ... Mais ta colère et à ton Mépris humilier ... ta résistance à briser tordre et à dans mes bras! ... Pardieu, c'est la Saveur de la chose, et ta me Resignation gâterait la fête! ... These words, Luc Bondy, who can not speak French, has read? He has no idea what tell the personality of shoes? Evidently not: he, as he candidly admitted in the interview the rest of the above, the book (and music?) Work that must organize, do not care, being stupid.

Scarpia again: I of sighs e di lattiginose albe lunari poco mi appago. Non so trarre accordi di chitarra, né oroscopo di fiori, né far l'occhio di pesce, o tubar come tortora! Bramo. La cosa bramata perseguo, me ne sazio e via la getto, vòlto a nuova esca . Ora, cosa vediamo noi in tutta la scena della tortura? Uno Scarpia che fa il cascamorto con Tosca, che le fa precisamente l' occhio di pesce e che comicamente tuba come tortora . Roba da matti… anzi, da Berlusconi , con il terzo piano di (quello che dovrebbe essere) Palazzo Farnese ridotto a scantinato da bunga-bunga , vomitevole.

As Floria , Bondy has weakened, in Milan, the characters of schizoid, neurotic, vain and vulgar and stupid as well that had saddled the MET. It remains to the nonsense of scarring to the painting of Mary Magdalene (by the way, sorry, but someone has always required that the left boob to the wind? Ronconi, Carsen and Bondy now so we represent it) and remains the final seconds absurd: after stabbing Scarpia in the balls (the book, you know, it's stupid, and requires a single stab wound to the heart) gives it another stab, precisely on the only shot of meals provided in the score, right in the heart (or the brute would act as an end Amfortas in Parsifal ) and shortly after, two other stabbings (the last two hands, hair-raising) on \u200b\u200bthe words die, die, die ! Then he makes to jump out the window (in fact, about the stupidity of the book of Bondy ...!) And then has second thoughts and lies exhausted, dazed but happy on the sofa, with a fan to dry the sweat dell'Attavanti (?)

And to think that Puccini's Tosca in composing has put all his creativity and his fastidiousness, coming to write in detail how this sheet:

Bondy of which is highly slams his balls, like the rest ... The third act is even distorted in its original drama. I do not speak of the chess match between Mario and the jailer, the stuff of vaudeville. No, Bondy is that the two main characters behave as if they were aware that the impending execution is just real and not simulated: already the scene is always shrouded in total darkness (the fantastic sunrise on Rome must stupid thing, of course) and then pellets and Mario who throws the pass, the two singing the Trionfal as if they were at the funeral ... well, we are in total reversal of the emotional situation constructed by the book (and the original of Sardou), which deprives the final dramatic twist not determined by the simulation sentence. And, consistent with the stupidity of its director, Bondy Tosca brings along a scale, with studied composure and is slowly disappearing in a tower. Painful.

And what about the scenes Peduzzi ? But why continue (no indeed, we continue !) To pay for his sets are always the same? To be alone at La Scala in recent years: Tristan, Carmen, House of the dead, Tosca, all the same! Walls of industrial archeology, gloomy and depressing. St. Andrew's, Palazzo Farnese, Castel Sant'Angelo: there is no difference between a baroque basilica, a quasi-Renaissance palace and a castle home adriana, the worst of all is reduced more dirty subway stations in the Bronx.

As for the costumes of Canonero , are at least vaguely plausible, and that is all to his credit.

no more, except the finding that the season - which began with Wagner's so-so and continued with the diptych What-what - I do not think you're taking a great time with this Tosca, passable on the music front but depressing on that stage. And we wait now Death already impoverished ... the leading man.

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Wandering around Tosca.

on changing clothes.

Someone has - quite wrongly - outraged at the fact that the dress worn in the third act of Tosca in this edition is noticeably different from what the singer wears in the second. Why wrong? Because it is rather natural and I would say almost a duty (and in fact almost all the products we offer as well). In fact the person who made the drama of Victorien Sardou (which inspired Illica-Giacosa libretto for the opera) can be misled, as in the final interview Sardou between Scarpia and Tosca was not at the Palazzo Farnese and in the middle a party in honor of the queen, but in Castel Sant'Angelo, in the apartment of Scarpia, a stone's throw from the prison where he is detained and three by Mario platform on which will be shot. Tosca was brought there after the dramatic night-night in the house of the beloved (Act III), during which she revealed the hiding place of Angelotti, who then committed suicide. As you (probably) still gli abiti da cerimonia che indossava precedentemente (atto II) a Palazzo Farnese, a meno di ipotizzare un suo passaggio da casa a cambiarsi, prima di andare da Mario, cosa peraltro inverosimile, data la fretta che Tosca ha di cogliere in flagrante i supposti trescanti (e poi è tutto sommato ininfluente sulla questione dibattuta qui). Dopo aver ucciso Scarpia (fine atto IV) Tosca si reca immediatamente alla prigione di Mario (inizio atto V) e quindi non può certo avere un abito diverso da quello indossato nei tre (o come minimo due) atti precedenti. Si noti che Tosca non fa cenno alcuno a Mario di eventuali preparativi da lei fatti in vista della fuga (non ne avrebbe avuto materialmente la possibilità): si limita a dire che loro hanno da 4 a 7 hours margin (before you find the beat the living him) to leave the state and they will not have trouble reaching Civitavecchia, having the carriage that Scarpia has (or better said that he had ...) available to them.

But we know that the libretto of the opera that includes the interview, followed dall'accoltellamento, between Tosca and Scarpia takes place precisely at the Palazzo Farnese, on the upper floor on which the party is over for the Queen , which Tosca was the singing star. So Tosca, before the third act of the opera must necessarily move (about 1 km) from Palazzo Farnese in Castel Sant'Angelo. Once lì, cosa racconta a Mario? Cito dal libretto: (mostrando la borsa) io già raccolsi oro e gioielli… una vettura è pronta . Questa frase, del tutto assente in Sardou (vettura a parte) e inventata di sana pianta dai librettisti di Puccini, ci dice senza la minima ombra di dubbio che Tosca, dopo aver abbandonato Palazzo Farnese e prima di recarsi a Castel Sant'Angelo, è passata da casa, a recuperare oro e gioielli (non poteva di certo averne portato con sé una borsa piena a Palazzo Farnese, quando l'ultima cosa che poteva immaginare era la brutta piega che avrebbe preso la serata!) e procurarsi una carrozza. E quindi non può non aver reasonably be taken advantage of this pause for changing clothes, taking off the (probably bulky, uncomfortable and look) of the royal ceremony, to wear one most suitable for the upcoming trip (which is actually a full-fledged flight).

The request for clemency to the queen

About inaccuracies (a total amateur like me can enjoy a world to take us nicely in some chestnut authorities ...) in also interesting and in-depth written by prof. Giulio Paduano published on the theater program, it is argued that the omnipotence of Scarpia is an innovative feature of the situation than opera Sardou (...) in Sardou's position is subordinate Scarpia (...) All this horizon is in the works of Puccini cleared to make way for an uncontested right to life and death, about which no premium nor the power of the Queen, is so named: Tosca she can get a pardon for Mario, but Scarpia has the power to ensure it gets too late . In short, trying to convince us that Paduano Illica Puccini-Giacosa-are more convincing than Sardou, bringing us an example that shows just the opposite ...! Here's why.

In Sardou drama of Tosca, as we know, Castel Sant'Angelo, almost dawn. While having a car available (such as guarantees him) Tosca should: leave the castle, go to the Palazzo Farnese (and so far are just a few minutes), but then become open, literally throw him out of bed the queen (!?) To convince sign the grace and return to the castle in time to block the execution. Frankly a mission impossible , as the poor must be held immediately, convinced of the futility of his efforts in the words of Scarpia notified that the grace comes with at least an hour late. Perhaps quantitatively exaggerated, but very plausible in substance, as Scarpia could hang Mario, held nearby, within a few minutes.

Italian libretto in hand, things are so much different and much less plausible because although Scarpia Tosca tries to dissuade saying that Mario is just an hour's life, it is true that Tosca is within a few meters from the Queen (second and third floor of the same Palazzo Farnese), and the queen is probably still awake, or you are just getting ready to retire after the party, and most importantly, if persuaded by Tosca, Scarpia could even call on the spot to order him not to initiate hanging, or even to immediately return there Cavaradossi in the flesh. And for that matter - in contrast to the drama of Sardou - Scarpia has Cavaradossi beside him (the offender is on his way to Castel Sant'Angelo) and could therefore do not execute in a few minutes. Therefore, the time-factor, cited by Baron to desist Tosca, here is very weak on this point is to be flawless in terms of Sardou plausibility and realism, much less the librettists of Puccini.

The third act, before and after

Also on the program notes for this edition of Tosca, there is an interesting article of Pier Giuseppe Gillio , containing unpublished documents concerning the first version of the third act of the libretto, by Luigi Illica, with the resulting actions by Giuseppe Giacosa. Version which was largely cut and changed drastically to reach the final.

the caption Illica had spread to present the beginning of the (largely expunged in the final) contain a detailed description of the tolling bell that is heard after the song of the shepherd (that was missing in this original version). It can occur on the Puccini score as you have kept faith, however, while expanding and then the extension. Illica writes: farther away, in the far background, from San Pietro Montorio is the faint sound of a bell calling to morning . In fact, the church is located south of Castle San'Angelo, about 1,500 m as the crow flies. In Puccini score marks indicating that sound distant and a sequence of 3, then 4, then 5 minimum (we are in 4 / 4), separated by a half rest. The SI is known under the natural line of the treble clef. Illica continues: immediately after a short interval, you answered the little bell of the convent of S. Onofrio, in the middle bottom, right . Indeed Sant'Onofrio is located about 500m south-west Castel Sant'Angelo, then right to right, looking from the castle. Puccini indicates far less marked and the sound as a succession of quarter notes (small bell!) Of natural RE, interspersed with quarter rest. The first five strokes alternate-overlap with those of San Pietro Montorio. Still Illica: then, alone again, and at a faster rate, the bell of the Church de 'Miracoli, near, left, beats morning. Here Illica takes a certain freedom, as the church and left (north-east is the castle) but not really close (it is approximately 1,000 m away). Puccini indicates near and marks sound as three sets of 3, 4, 5 consecutive quarter notes ( Faster!) separated by a quarter rest. As you can see, a musical representation absolutely faithful to the description of the librettist, then expunged by the description given to the press.

Puccini then extends to the presence of the bells to call in the first air Mario, also the great bell of St. Peter , MI listed as serious natural in minimum .

Of some interest is the schedule of events. In the final book Act III opens shortly after three in the morning, as can be inferred from the fact that it runs at 4 ( play 4 am , is written in the caption) and before the jailer warned Cavaradossi with the famous you have one hour . Illica Instead, in the original draft, postponed all of two hours (six hours play, read the booklet at the time of the original Mario, after the famous Latin hymn that mocked as Puccini triumphalist, case without mercy). I think that was right after all to remain faithful to Puccini times Sardou, anche per ragioni, come dire… astronomiche: non dimentichiamo che siamo al mattino del 18 giugno, praticamente al solstizio d'estate!

Di grande interesse anche la versione originaria dell'epilogo. Illica ne voleva fare un finale à la Lucia , o Linda , o Macbeth (così scriveva Eugenio Checchi nel 1897, come ci informa sempre l'articolo di Pier Giuseppe Gillio). In realtà a me pare che il modello più calzante fosse il wagneriano Liebestod . Tosca tesse le lodi dell'amato rivolgendosi a donne preganti ; poi chiude con questi versi, rivolti ad un immaginario gondolier : is not dead - you know. Sleep ... and tired. All away, all away! - The waves of trembling - Channels kiss - The old histories - ... The old glories - not singing gondoliers ... slowly, slowly ... - I want a great silence round about us - eternal silence with eternal love ... (And Tosca, with the corpse Mario in his lap, unmoving with his finger on his lips to silence the great act of gondoliers who sees it in his mind) . Stuff for nails! A monument to Puccini for having listened to Sardou, and defined 'is stuff like air overcoat.

.

Brown Mucus After Mensturation

"Why is Sanremo Sanremo!



Ed has just finished the San Remo Festival 2011!
This year, not bad! I'm sorry it's songs, they go to run, headed by the great Gianni Morandi.
and deserved the victory of Roberto Vecchioni, "Call me Love Again" ... a poem, wonderful! And magically interpreted.
Although, I must admit, that is far from the issues that I have had dreams as a child, and bring slowly to my passion!
In my teenage years, the Festival of Sanremo was a ritual!
I was looking through newspapers and television, to know everything, absolutely everything, what would happen on the stage: singer-songwriter, who would have handled the set design and Ariston gli abiti di vallette e conduttori. Per non parlare degli anni in cui si presentavano i cantanti che piu mi piacevano! Registravo le loro esibizioni e le riguardavo durante l'anno.
Un altra " fissa "? acquistare Tv Sorrisi e Canzoni! L'unico settimanale che era ( ed è tutt' oggi) in grado di pubblicare i testi delle canzoni che vengono presentate, e che, come si sa, restano segrete fino al giorno dell'inizio del Festival. Ed ovviamente, studiare i pezzi.
Oggi sembra tutto molto più "montato", "artificiale"... Ma per fortuna, la musica resta!
Devo ammettere che un po mi è dispiaciuto non esserci... come saprete, anch'io quest'anno ho fatto la mia proposta. E , come ricorderete, non è di certo la first time I try!
but that's okay, especially because now I have to present my latest work!
you place here the link of the video clip of "The chains of the Heart" ... and I take this opportunity to thank all those who have supported me and helped make everything! Thanks from the heart!
The City of Sanremo, the 'Ariston and all my experiences there, I will stay in forever ...
And I will tell you a bit 'all .... soon, still here!

Køb Isba Montana Boots

Message in a Bottle By Dora Romano

Message in By a Bottle Dora Romano

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Submitted by ENZO CURRENT

Ance Cealing Stick 03

FIRENZE 18/02/2011 - STIAMO CERCANDO IN ZONA FIRENZE E PROVINCIA VOLONTARI PER ATTIVITA' ASSOCIATIVE E PIU' PRECISAMENTE: BANCHINI PER RACCOLTA FONDI, RACCOLTE PAPPA PRESSO SUPERMERCATI, STALLI PER GATTI GRANDI E PICCINI CHE CERCANO FAMIGLIA, ADOZIONI.

LA NOSTRA E' UNA PICCOLA ASSOCIAZIONE CHE SI OCCUPA DI GESTIONE DI ALCUNE COLONIE FELINE E CIOE' DI DARE LA PAPPA, DI CURARE SE C'E' BISOGNO, DI STERILIZZARE E DI FARE TANTE ADOZIONI!

WE NEED 'TO BE VOLUNTEERS OF PEOPLE THAT MAY GIVE SOME' of your time to these friends. IT DOES NOT MATTER IF YOU ARE NOT EXPERTS, may teach us it is what matters is' to be really motivated to do it.

ASSOCIATION IN ORDER TO ENLARGE AND SAVE MORE 'NEED MORE ANIMALS' people who can be devoted to them. THEN, WHAT ABOUT YOU?

We are waiting. CALL U.S..

Alessandra 3472341873 (afternoon only)

How To Un Lock Channels In Tvb-t

Stagione dell’OrchestraVerdi - 23

The Mahler's Ninth goes on stage this week at the Auditorium. Directs the Yankees John Axelrod, had seen and heard in these parts several times (and always with a high rating). A few weeks ago he directed this true testament Mahler 's and RAI National Orchestra - at least listening to radio - I had made a good impression (apart from an early attack of a joke given the piccolo in the tail end ... )

Before the concert, the usual Conference presentation of Mahler symphonies, assigned yesterday to the venerable Quirino Principe. Listening to what one can not be admired by so much wisdom ...

A curiosity: perhaps HL de La Grange exaggerates a little, but today we have the Ninth , is due to refusal Mahler opposed to an attractive offer of the Teatro Colon in Buenos Aires , who invited him there for the winter season (15 May to 15 August 1908). Mahler chose instead to spend the summer in Toblach and there, in his Häuschen , while composing the Lied , buttò giù i primi schizzi della sua ultima (completata) sinfonia.

 

Ascoltare questo capolavoro è sempre un'impresa, per cervello e cuore, credo altrettanto dura quanto quella di eseguirla e di dirigerla. Per questo non è consigliabile eccedere: personalmente avevo ascoltato per l'ultima volta la Nona quasi un anno fa (8 marzo 2010, alla Scala, con Salonen ) e ancora ne avevo lo straordinario ricordo . Perché davvero, cuore e cervello ne escono ripagati con gli interessi!

 

Spesso si considera questa sinfonia come opera di un individuo destroyed and dying, who writes his own epitaph. The way things are a little different: yes Mahler was reached in 1907 by three blows of fate (diagnosis of cardiac dysfunction and death of small Putzi and dereliction of Hofoper ) as set out in advance - but only imagination of a-posteriori Alma - in the final of the Sixth , and certainly was aware that the end could now knock on his door at any time, but was not a despondent man, was indeed an artist who kept in good working order and full activity. If anything, his Ninth - As well as Lied and fragments of the Tenth - show us his deep conviction that, even amid the ruins left by these earthquakes, there was still the prospect of a new life , although to be lived in awareness of its precariousness.

Mahler seems to me that the post-1907 is an artist who, point blank, he discovers within himself all existential problems (and materials) which until then had felt - and admirably represented in music - only outside of his own person. And it is his own artistic production a chiarircelo: l' Ottava sinfonia (1906) chiude il ciclo della produzione del Mahler testimone del mondo ; da lì in avanti, la sua musica sarà quella del testimone di se stesso , naturalmente in rapporto al mondo e all'aldilà.

 

E John Axelrod , come ce l'ha proposta, questa testimonianza? Con grande energia, direi, accentuando i contrasti di tempo, sia quelli macro (fra i movimenti esterni e interni) che quelli micro (all'interno dei singoli movimenti, paradigmatico il Rondò ). Forse qualche eccesso negli schianti dei timpani, per the rest decent performance technically, not free of small flaws, perhaps partly due to the unusual layout of the bass (between front lined percussion and brass). Flaws certainly eliminated in the next few replies, and that still did not influence the opinion of the public who has bestowed - after the long silence following the dying of the arches - a great triumph for the director and teachers.

The next event is here with the great Lenny .
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Bruise Feeling On Head

OUR FIRST RELAY !!!!!!!!!!!!!

Firenze 13/02/2011 - Dopo telefonate con Lara e Valentina, due volontarie che dire che amano gli animali è dir poco, dopo appunto aver parlato dei dettagli della staffetta, stamani siamo partiti da Barberino del Mugello con una canina piccolina piccolina e bella come il sole! Ci siamo trovati con il ragazzo che l’aveva tenuta in stallo all’uscita del casello di Barberino. Con un po’ di dispiacere ce l’ha consegnata e l’abbiamo messa in un trasportino da gatti! Pensate un po’ come was small. Little old, but also in size! We took the highway and went to Bologna. She was good the whole trip, the little girl was dozing, and when he woke up there was some hole as if to say: "Ugh, however, there is no peace." Maybe you will also have fear, basically it will be felt a bit 'confused, no? The rest was for some 'time with this guy and suddenly two brutes they took and carried away, boh! But all this had a purpose, my dear little one! In fact, waiting Raffaella Bologna and another girl, I can not remember the name, they would reach their destination, that is, the new family, who had adopted and was waiting in trepidation. We are delighted to have made our first relay. Small stretch, it is true, but it was still important. We already miss the little one ... .. but we already know from yesterday's new home ... got tired, cold and hungry. Today we know he'll be far better. Good life to you little one and good life to all those animals who have started a new journey.

a special greeting and a hug goes to Lara, Valentina, Raffaella and sorry but I do not remember the name, the other girl who was with her for the great work they do all the time. To be able to get the dogs to the new non-adopters è cosa da poco. Non è cosa da poco togliere tutti quei poveri cani dalla strada. Diventa sempre più difficile anche perché non ci sono tantissime adozioni, ma loro, imperterrite, vanno avanti. Hanno un cuore grande così. Diamo però loro una mano, combattere il randagismo è una cosa che riguarda tutti, sterilizzare vuol dire amare gli animali e non mettere al mondo cuccioli che finiranno sicuramente in mezzo ad una strada con i pericoli che ben conosciamo.

CHI FOSSE INTERESSATO A DEDICARE UN PO' DEL SUO TEMPO NELLE STAFFETTE, PER PORTARE GLI ANIMALI NELLE NUOVE FAMIGLIE, PUO' METTERSI IN CONTATTO CON ME ED IO COMUNICHERO' I VOSTRI NOMINATIVI :-)

Piglet and his friends

Camcorder Battery Doesnt Charge Fully

Stagione dell’OrchestraVerdi - 22

Eat of Mozart for the appointment di questa settimana. Sul podio un ragazzino, o poco più, Trisdee na Patalung , che va ad infoltire la schiera di giovani direttori provenienti dalle più impensabili (fino a poco tempo fa) aree del pianeta. Lui arriva dalla remota Thailandia , dove è direttore dell' Opera di Bangkok , nata da pochi anni e, oltre a dirigere orchestre e cori, compone (anche sinfonie!) e suona il pianoforte (si è già cimentato nelle bachiane Golberg ). Non è nuovo al pubblico italiano, avendo diretto al ROF, all'Orchestra Nazionale RAI, alla Haydn di Trento e Bolzano. Al contrario di ciò che fanno altri direttori, giovani e vecchi, il suo è un modo di dirigere assai composto, niente agitar di braccia o contorsionismi, ma un gesto secco e preciso, quasi esclusivamente di avambraccio, efficace quanto misurato. Credo che anche da questi aspetti esteriori si intraveda una serietà di approccio che lascia ben sperare per il futuro, che il ragazzo ha ancora tutto davanti a sé.

Il programma è aperto dalla celeberrima K525 , che prevede solo l'organico del quintetto degli archi: la Verdi schiera, ad occhio e croce, il 70% del suo complesso, disposto con violoncelli arretrati e viole al proscenio ( Konzertmeister è Nicolai von Dellingshausen ). Patalung takes time fast enough, offering a fresh implementation of this pleasant and that still divide the critics to give feedback on, but it's a serious thing or a backward Spass, matters little to us, if we can enjoy it very much!

Following is Concerto for flute and harp , where they performed Cesare Bindi first harp and orchestra, the talented Elena Piva . The beginning of what will inspire Nachtmusik, written almost 10 years later:

And also the theme of ' Allegro finale si riconosce nella Romanze della K525 :

Bindi-Piva ci regalano un'interpretazione impeccabile, coniugando al meglio la delicatezza e il virtuosismo di questa mirabile pagina. Le tre cadenze, che Mozart non scrisse, sono (se non vado errato) quelle di Carl Reinecke . Calorosa accoglienza e diverse chiamate per solisti e direttore.

Dopo l'intervallo, un'altra prima parte dell'orchestra, Fausto Ghiazza , interpreta il celeberrimo K622 . Nonostante sia the third exhibition with the Verdi as a soloist in this concert (the first 10 years ago!) the good Ghiazza betrays a bit 'of emotion at the time to report to the stage. But just attacks the MI, the nervousness melts and from there it's all a heady stream of notes. A true triumph in the end, with screaming and shouting from the stadium, which convinces Ghiazza to propose a mo 'for a , the final section of the celestial Adagio, one of the pages of music that always leave amazed:

ends happily with the Symphony in G minor . Patalung gives interpretation nervosa, emphasizing the light and shade, adhering to the vision is essentially tragic of this masterpiece, any more than Apollonian. Meets all the choruses, especially in the final Allegro assai , but certainly not boring, indeed. A bravo! him and the whole orchestra for giving us an evening of great music.

Soon a absolute masterpiece of the twentieth century.

Function Of Medical Trolley

Tannhäuser in pellegrinaggio a Reggio Emilia

After being at the center of the opening of the season at Bologna, this Tannhäuser (quasi) tutto tedesco è approdato al Valli di Reggio Emilia . Ieri sera seconda e ultima recita, dopo quelle di Bologna, accolte abbastanza tiepidamente (ad essere magnanimi…) E chissà se questa fama non proprio eccelsa non sia responsabile del desolante numero di vuoti che si notavano in platea e soprattutto nei palchi (unica consolazione: parecchi i volti giovani).

Apro con qualche considerazione superficiale e – come ama dire Amfortas – semiseria . È ciò che magari si può pensare a prima vista di questa produzione. Meanwhile, Guy Montavon he directed the work: for instance, and as if Lissner put himself on stage, say, the next Tosca at La Scala ( smile! ) Or as if you were to do Moratti also 'coach ( re-smile! ) Montavon is Swiss graft in Thuringia and Tannhäuser is set right there, as it happens. Too bad the good guy has lost its bearings, confusing east with west. And so, according to Erfurt, instead of looking at 40Km away to the west, toward Eisenach, the Wartburg and Hörselberg, has moved more than 40 km to the east, moving poet, troubadour and assorted females in that the Weimar close inside the library and half destroyed by a 7 year ago. And who cares? will say ... we are always in Thuringia and then: not by chance Padrissa teleported everyone and everything in Bollywood?

In making both the superintendent and the director but there is some advantage, valuable in times of crisis: if the manager realizes that the money is scarce, the 'artist provides on the spot to cut costs of production, beginning with those of the scenery (and perhaps those of his two-paycheck?) is, therefore, that there is almost nothing on stage, and what little there is stuff that apparently recovered in a landfill. Some movie or slide to be projected on sheets and mosquito nets, and that's it. But if the genius of the direction implies the presence of some extraordinary occurrence, just use the staff (already paid for anyway) the logistics of the theater, as firefighters and the like.

course, put like that, would drop their arms, let's face as well. Instead, behind this facade unpromising, there is also something (if not very) good!

The presence of the library (in the second act) and several books (now) directs attention to one of the key issues (although not unique) opera Tannhäuser Wagner and production in general: the role of art and artist in society. And the choice of the version to be executed - that of Dresden , so no bacchanalia - puts everything in the background of the problems of purely religious or ethical-moral, as the ratio of sex-religion-spirit and flesh.

The little red book that carries Tannhäuser is a kind of diary, a rough draft of notes ( Beethoven think he had always been one with him, and Wagner as well ...) which marks the artist's ideas and ideas for his works. Venus they tear out the pages on which the artist has pinned his longing for freedom (from the claustrophobia of Venusberg, but basically by himself and his own self-isolation). Pure Elisabeth carries a booklet (yellow), which in turn is a diary, but not the artist, but to his fans , one that was struck by the first artist's work and has documented , together with its reactions. Thrown them away, and delivered right to the artist, because she is now irresistibly drawn to the contents of the little red book (which is never open, keeping it almost as a relic, after the expulsion of Tannhäuser, in order to deliver it on his return from Rome ) And other books are delivered ai cantori perché vi appuntino le idee per le rispettive composizioni per la tenzone. La quale tenzone avviene nella biblioteca di Weimar, distrutta dal rogo di libri, che è l'immagine della Wartburg rimasta orfana delle opere dei cantori e di Heinrich in particolare. E nella quale un secondo rogo vorrebbe distruggere il libretto rosso, simbolo dell'arte depravata di Tannhäuser; libretto che invece Elisabeth , appunto, si incarica di conservare. E che, non vedendo tornare Tannhäuser, consegnerà addirittura a Wolfram , quasi a investire il nobile e innamorato cantore della missione di perpetuare la nuova arte che tanto l'ha colpita e portata in uno stato di contraddizione spirituale which will be resolved only through sacrifice. Wolfram will not know what to do, and it will still take it back to Heinrich in his final delirium. But just as the curtain falls (on shower that cleanses the Scottish artist) we find that q uel little red book is now kept in a modern shelf and is seized by a boy who shows to affect more than a beautiful colored ball!

Here is a Konzept which - in my modest opinion - centered in the most convincing way the essence of this Wagnerian drama. Which otherwise is sufficiently twisted ... and suffered, as amply demonstrate the myriad alterations Wagner which subjected him, never are satisfied. Starting from the search for cause-effect relationship with respect to the protagonist. At the end of the second act, after the scandal broke, Montavon presents us with a giant backdrop - taken after the fire - the interior of the Anna Amalia Bibliothek Herzogin ; side, written and indeed capital The poet does not belong to the world of the gods, nor the world of men .

I wonder if it is a sentence (in effect) written by Wagner in one of his megalomaniac pamphlet (it could well be in communication with my friends ) or confided - I know - a Liszt or Mathilde, in a moment of particular excitement ... It is a fact that represents the fate of the poor Tannhäuser (and the Wagner-40 years?) that fails to fit anywhere (whether in Paris or to Dresden). But it is only fault of society? Because, in the majority of MI Venusberg, he sings in Db, then in D, then Eb, and on the other hand, in the best Eb hymns of Wolfram & C comes out with a blasphemous nature MI! In short, a sort of reverse- Bastian, a cursed artist who can only find peace in the cemetery, along with his admirer and redeeming the holy Elisabeth . (As for 'artist Wagner , he should explain why the Overture from the beginning, the chorus of pilgrims in E natural, which seems a blasphemy when compared to Eb used for the purpose in the work: that is so as to better link up with the Venusberg, which opens onto the curtain, explanation is too trivial.) In short, the road to get to Parsifal, Wagner will do so again ...

About rearrangements, it is interesting that the solution has given the final Montavon, presenting a kind of mixture of what is now the de facto standard-of-Dresden (physical appearance of Venus and Elisabeth's funeral) and the set of 'Ur- Tannhäuser , where the Venusberg is just a hallucination of Heinrich and Elisabeth, you have only a distant reference to the rooms of the Wartburg, lit for his funeral. Venus is especially here in the theater feels (some may even glimpse, as she sings - score on the lectern! - In the old tub stage left) while the funeral of Elisabeth is just the singing of the choir, which sings the obituary.

dell'allestimento This minimalist, I come to the interpreters, where the notes ( smile! ) are perhaps equally pleased, although I do not feel completely talk about failure.

Meanwhile Reck : 50 years old the director gave a reading dry and minimalist ... ( smile! ) of the score, without emphasis and smash (unless, but dutifully, in the choral scene in Act II). His time, starting dall'Ouverture, I am pretty close to what seemed to require Wagner (Tannhäuser are detailed in metronome markings). Never has covered entries, and already this is not just quality. L 'Orchestra responded very well, both in the pit, behind the scenes.

The Choir, directed here by Lorenzo Fantini, confirmed its preparation: excellent in both plan dei pellegrini, che nei fortissimo dei nobili di Turingia.

Tannhäuser era Richard Decker : la voce non è proprio male (ricorda vagamente, anche nell'espressione, Domingo) ma francamente è parso in difficoltà (proprio di intonazione, credo) nella scena iniziale, chiusa con un Maria non propriamente da ricordare, il che ha fatto temere il peggio. Si è invece poi progressivamente ripreso ed ha concluso senza danni anche l'ultimo, tremendo sforzo del racconto di Roma. Assieme ad applausi, ha ricevuto un paio di buh (da un'unica fonte in platea, peraltro) che mi son parsi un pochino eccessivi.
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The Venus of Patrick Orciani was much applauded, though it did not go free from any flaw (from urletto) in the treble.

who did not deserve the two whistles (always from the same point of the audience) in a sea of \u200b\u200bapplause, was Orla Boylan, Elizabeth interpreter. For me, a performance more than worthy, if not excellent.

Protagonist of the evening Martin Gantner, Wolfram really a big, warm voice, clear and bright but, as befits the legendary Minnesanger .

Dignified test Enzo Capuano in the role of Landgrave, and significantly - despite the limited extent - that of the shepherd , the really good Guanqun Yu.

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Well, I'd say - as seen and heard yesterday - some criticism that followed the earlier performances I think are undeserved. The only one I feel I have to do is start time. Okay that Marcegaglia has now need to take advantage of our minutes ( smile! ) but start at 18 instead of at 20, I do not think he would fall our GDP.