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Zuelli passionate and peaceful

Last concert with Toscanini in Parma Conservatorio Arrigo Boito (the day before we were in Salsomaggiore). The dressing room is actually classroom with an upright piano, a Clavinova, the classic color of the plaster of the classrooms at the Conservatory (neither white nor yellow, nor Gray: A unique and amazing ircocervo) where they settled mysterious signs: the picture Brasilera orchestra on tour, a wall clock sublime, worthy of the quadrants of liquefied Dali (who ever one day have the best designed? he and where is it now? genius sucked by time, by diligent histories. ..) but also of Czechoslovakia seventies, a photo of the Zuelli framed (dating back to '29), with a dedication to him direct from Conservatory "with passion and serenity of the artist's official."
Zuelli severe teacher has a beard, but his eyes marked by the lines are good, gentle, forgiving. He had a hard time and struggling, grew up between the road and the orphanage, won the Prix Sonzogno and wrote operas, symphonic poems, songs. died old, alone and blind.
I look at him with affection and I think the strange destiny of our art, the most fleeting, most tied to the whims of fate. Never listen to a note of Master Zuelli? For now, the photographer with their cell phone (with your watch, of course): reflected in the glass here is the Master Albanian together with me, intent to shoot (the "fitting room is shared). Good gig, despite the acoustics a bit 'too generous, perhaps the best of three.

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Articles on the concert with Joseph Albanian

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Piacenza in Piacenza

Yesterday morning in Cremona: compact and light blue of the sky of September, the pink stone of the old buildings, the sound malchiuse violins from windows, my steps as I go on the cobbles at the Teatro Ponchielli for the first test Trovatore . Very few people walking, some Cycling. The trees still full of leaves and red ocher. The music of Trovatore can not arise from different source that these walls craquelées matured and that the porphyry within the commissures which sprout a thousand herbs capricious: the music is in the air, in the shadows, in the arcades, but in a speech bit 'large, flavors, shimmering in the halls of the theater, and two steps away, working in the shops. When you Italian music in American theaters all this harmony is flaked, it must be recovered back, or, in the Latin sense, to pretend. The solitude of the morning, the stench of coffee, fresh air on his cheeks are shaved just a promesse de bonheur, warning of atmospheres and sounds of Verdi, the prodrome of the universe at night, the flamboyant and gracious Trovatore.

There are all singers, but the baritone. I see Oksana Dyka with which I had prepared Leonora in Kiev in August. He did not forget anything and even he has deepened his style. Hong Di Francesco, the first Manrico, I knew he had a "do" great, but even more amazing is the flexibility, softness, the ability to accept and implement all the infinite number of signals introverted nature (as pre-Don Carlo!) Of that guy "desert on earth": that is, the pianissimo, the expressive, the mezzavoce, the cantabile, legato.

the evening at Piacenza. Concerto with Toscanini, the beautiful Municipal , a jeweler in the early nineteenth century. Excellent acoustics, which allows many dynamic games not even imagined in the test. Albanian Joseph, who has the solo part in Second Concerto of Shostakovich, is a formidable virtuoso but also shows off the taste of the sound, the deliberations of the simple and sad melody that runs through and innervates the Sarabande of the second half. He has a great success, and makes a wonderful Scriabin as an encore. Like so much that I sit on the podium and the rest in the middle of the orchestra to listen to him (never done before). I'll be back in Milan by car in the night (the rain helps to stay awake) with the obsession of 7 / 8 by Shostakovich in the head. After the concerts, I never sleep before 6 am or 7 am, but I'll have to get up early for tests Trovatore at the Dal Verme. Two chapters in the history of my life Casanova (livre de my bedside for two weeks), and fall asleep.

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Giulini and Il Trovatore

Listening Il Trovatore conducted by Giulini (I'll start testing tomorrow in Cremona). I knew that in the studio with Domingo, a romantic ballad of infinite imagination and nobility, the true Trovatore enchanted night and, unlike other Troubadours latest announced "moon" and actually directed and played the Garibaldi. But now I feel Il Trovatore live 1964 Covent Garden, with a good cast (Predict, Jones, Simionato, Glossop, Rouleau). Join a bit 'lucky, you can download in mp3 at this link:

http://rapidshare.de/files/23453915/TrovCG64-01.mp3

http://rapidshare.de/ files/23458019/TrovCG64-02.mp3

http://rapidshare.de/files/23459448/TrovCG64-03.mp3

http://rapidshare.de/files/23461433/TrovCG64-04. mp3

This Trovatore limelight many places common on Giulini. And 'one of the most stalwart and rock I've ever heard. Not a vulgar phrase, an effect not free (and there are, these and those, even in the great version of Karajan), but almost violent theatricality, outgoing, courageous, pugnacious. Some times are fast ("Please slow down or barbarians" is on the verge of madness, have been together for a miracle), but it is mainly the relations between the different coming off the snap to generate the momentum. For example Giulini prepares "Di quella pira" tightening and speeding up the introduction so hectic the last page before the cabaletta: the effect is dizzying, and "Di quella pira" earns a lot to be removed in a non-frantic but slightly considered in order to give weight and energy to the accompaniment. On the other hand, all this does is to achieve the requirements of Verdi (metronome crotchet = 100!), Which are not directors who present themselves as guardians of the Word original. According to them, in fact, what Verdi wrote no account, and you can remove the cabaletta to 144 the quarter note (with a slight bell'accompagnamento light): the effect close the page Begin The Beguine Cole Porter, who all we adore but do not imagine sung by Manrico.

short, Giulini you strong indications of Verdi and produces a consistent pace and dramatic narrative (as in the narrative of all the Verdi operas: from start to finish there is nothing that remembrance a dark past and looming). The "how" to do it then respects its prestige and its size, which once again we bow.

About fidelity to the particulars of Verdi, one of the directors I've found more faithful and Sinopoli (who knew?) That in his Trovatore Monaco (live Cd Orpheus) is one of discretion and of surprising humility. Of course, respect the dynamic markings (to take but one example) leads to reduce effettacci vulgar so much tradition, and to bring the emotion to this sfumatissima, atmospheric, written as the masters of the infinite painted glazes.

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It starts from Parma

Yesterday, the first test of the new season. In Parma, with the Orchestra Toscanini: composite program, Mozart: Symphony No. 39 , Shostakovich: Second Piano Concerto , Castiglioni: Intermezzo, Schumann: Overture from 'Genoveva' . I did not choose me but I like it and, I think, works for a balance between the pieces. Castiglioni, to my knowledge, there are no records: I studied piano and showed me the impression of a Klavierstueck the first Schoenberg. With the orchestra is different: the writing becomes more fragmented hard, paradoxically, it is easier to tie the elements the piano, which also does not support sound. Some, in the orchestra, I say it's an interesting piece, by the majority does not like. Too many gaps, too many areas of air. Just sound. Yet should this be the reason for his poetry (the time signature is "So zart wie moeglich). I hope to get more color to the second round, but it's a difficult piece, where should the silences speak as sounds.

With all the other pieces are more involved. In Schumann keep a time faster than some recordings I've heard (Kubelik, Masur) should emerge a certain size neurotic, with sudden bursts, lighting, glare of sound. Yet, with all the neuroses of Schumann, the thing best part is the construction of the entire track on two cells (the first is the introduction in C minor and C major blazes in the lock), with a consistency, solidity, continuity formidable. Do not know if it's ever been commented on the orchestration of this song, but the first reading with the orchestra seems to me sounds very well, without tricks and adjustments: a perfect balance, dynamics and weighed "written" in an effective manner. Two difficult steps to the arches.

What amuses me most is the Concerto of Shostakovich, because in the second movement (which is easy for the orchestra and the pianist who question the emphasis on beauty of sound) I play the orchestra alone and I play the piano (studied at the moment, more or less, but not dangerous). This refers to Rachmaninov Shostakovich or sdilinquimenti of the film is very curious. It 's all "as if" (what Adorno says about the Fourth of Mahler), all un'antifrasi, or maybe not, you are relaxed for a moment and went out melodic gift that was formidable in the young Shostakovich (the First Symphony, movement slow). Of all the pieces of the program can be said to represent the part most elusive style of each author (of course it can be said of No. 39 by Mozart, terribly difficult).
(At night, aching right shoulder, as always when I resume work after a few week. It 's a pain I know, and I smile at bedtime).