Pappano on Cavalleria Rusticana - Radio 4

[mercia]

may we be told what the intellectual sibling prefers about Classic FM (if he's ever said) ?

[french frank]

may we be told what the intellectual sibling prefers about Classic FM (if he's ever said) ?

He says he only listens to the radio when he's in the car and CFM is better for that. At home, when he wants to listen to music he puts on a CD and just listens.

[Barbirollians]

He says he only listens to the radio when he's in the car and CFM is better for that. At home, when he wants to listen to music he puts on a CD and just listens.

He needs an iPod and a USB port in his car radio ! No more Classic FM required . The only problem with mine is that it does default to Abba !

[kuligin]

Actually, it's not that obvious what you meant. And the production of Guillaume Tell was terrific. Note that I don't say 'I thought that....,' but then neither did you.

Mr Holten said that it is a matter of taste whether one enjoys the Guillaume Tell production. I am interested to learn what you found terrific about the production, in particular what the video and the man who went round sticking arrows in the table added to matters.

I am not sure it is a matter of taste at all but a fundamental different approach to producing opera. I disliked the Tell production a great deal. I always find that video distracts so much that one stops listening to the music and that for me was the worst element of the production.

I disliked the Onegin even more as the introduction of the doppelganger showing the older Tatiana gazing on the real Tatiana as she writes her letter seems to me to destroy the development of the character as disclosed by the music.

[David-G]

I agree with you Kuligin. But surely the "older" Tatiana (the singer) is the "real" Tatiana? If the singer is not the real character, opera is in a real mess. But in any case, Tatiana is a young girl. The whole idea of her being "older" is ridiculous. Seeing the two together made the singer look older. Not flattering, and undermining of the character.

I am amused how discussion inexorably returns to Guillaume Tell! It was so awful (imo, but also in many other people's) that it simply cannot be forgotten. I reported at the time how it was much improved on my second visit by a blindfold. I still have difficulty deciding whether Tell or the Queen of Spades at the ENO wins the wooden spoon.

A propos of which, underthecountertenor may be interested to hear that the David-G Blindfold Mark II is now ready for action. There is a back-care shop close to the Wigmore Hall. In the window recently I saw a small notice advertising "Relaxing Eye Masks". I invested in one, and so am now prepared for the worst that Michieletto can do in Cav and Pag! (Seriously, though, I would never use it on a first visit to a production.)

[underthecountertenor]

Well, I can report from the General of Cav and Pag that I don't think your new blindfold will be needed this time David-G. Nothing to frighten the horses (though there were no horses - we're not talking Zambello here). It may be that some fundamentalists will find things to dislike (and Michieletto is probably a marked man here now), but I thought the whole thing inspired and absolutely rivetting. The audience seemed to agree - I've rarely known a warmer reception at a general. The production team didn't take a call, but I had the impression that there was general approbation for the production.

[Prommer]

You are right utct... I loathed the silly, pretentious and seriously unpleasant Tell, but DM's Cav & Pag is a triumph.

I was at the General too and can report with relief and real enthusiasm that the whole presentation is an extremely gripping and unified whole. The way in which Cav and Pag are linked is very clever but also right, and moving.

Some marvellous singing and playing too.

[Barbirollians]

You are right utct... I loathed the silly, pretentious and seriously unpleasant Tell, but DM's Cav & Pag is a triumph.

I was at the General too and can report with relief and real enthusiasm that the whole presentation is an extremely gripping and unified whole. The way in which Cav and Pag are linked is very clever but also right, and moving.

Some marvellous singing and playing too.

Glad to hear it and it seems I have just bought the last reasonably priced ticket available in the whole run !

[Prommer]

Only slight downer (but caution, this was a rehearsal) was Antonenko as Turiddu and Canio.

Very powerful and thrilling at times, but he seems to have an intonation/voice control problem, possibly because of a lack of technique. When the voice is not placed right, he can go awry, especially when trying to belt it out.

A massive find in the Silvio in Pagliacci (Dionysios Sourbis); Westbroek and Giannatasio as Santuzza and Nedda were very fine indeed.

Pappano is totally at home in this repertory so he should just give in to the fact that he is more of a natural in these than some other pieces, and enjoy the acclaim just as he clearly loves the music!

[underthecountertenor]

Only slight downer (but caution, this was a rehearsal) was Antonenko as Turiddu and Canio.

Very powerful and thrilling at times, but he seems to have an intonation/voice control problem, possibly because of a lack of technique. When the voice is not placed right, he can go awry, especially when trying to belt it out.

A massive find in the Silvio in Pagliacci (Dionysios Sourbis); Westbrook and Giannatasio as Santuzza and Nedda were very fine indeed.

Pappano is totally at home in this repertory so he should just give in to the fact that he is more of a natural in these than some other pieces, and enjoy the acclaim just as he clearly loves the music!

Antonenko didn't look happy at the Cav curtain call, and I was half-expecting an announcement before Pag. I did wonder whether nerves, a throat problem or a technique deficiency (or a combination of the three) were in play once or twice, especially in Cav.

The rest of the cast gave pretty much unalloyed pleasure (a word also for Martina Belli's Lola and for Elena Zilio, a moving Mamma Lucia whose voice may not be to everyone's taste but was to mine). And Pappano was masterful. One or two co-ordination issues with the chorus (leading Pappano to wave rather frantically at one point) will no doubt be sorted out (as will a premature entry from one of the sopranos in Pag which led to a visible corpse from at least one of the men!)

[bluestateprommer]

In general, it would appear that Michieletto has redeemed himself at the ROH with this Cav/Pag, if the critical reaction (beyond comments here) is anything to go by:

(a) The Guardian
(b) Telegraph
(c) The Arts Desk

Obviously I'm nowhere near to catch the experience live, but maybe a cinema relay will make its way to this side of the pond at some point (or failing that, the DVD).

PS: I have to ask the key BSP nerd question, of course, namely with respect to the final line of Pagliacci. Tonio (correct, but relatively rare), or Canio (incorrect, but more frequent)?

[french frank]

PS: I have to ask the key BSP nerd question, of course, namely with respect to the final line of Pagliacci. Tonio (incorrect, but relatively rare), or Canio (incorrect, but more frequent)?

Both incorrect? Or Tonio 'correct' but rareish?

[underthecountertenor]

I'm comforted to see that, once again, I'm in disagreement with the thrust of Christiansen's review in the Telegraph, particularly where he describes what was for me one of the most heartbreaking moments in DM's production (the Pag Intermezzo) as 'neither here nor there.' For me, the man is quite simply perverse.

[Zucchini]

...with respect to the final line of Pagliacci. Tonio (correct, but relatively rare), or Canio (incorrect, but more frequent)?

"La commedia e finita" belongs to Tonio and like the Prologue, is addressed to the audience in the house. If the last line goes to Canio it must be directed to the onstage audience, the symmetry is lost and it's dramatically weaker. (watch Vickers/Glossop on Youtube)

[french frank]

the symmetry is lost and it's dramatically weaker. (watch Vickers/Glossop on Youtube)

I agree that the symmetry would be lost, but I think (not actually knowing!) the reason why it was transferred to Canio is because it makes it dramatically stronger.

If Tonio (as Prologue) announces '(Pardon, gentles all) Here our show is ended' it refers to the theatrical play/make-believe/pretend. If Canio says it to the players it refers to the drama of his/their lives. It's finished for Silvio, finished for Canio and it's not make-believe: it's real life and death.

Not that that was presumably what the librettist originally intended …