Originally posted by Maclintick
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I read CH's article( I agree, it was a good read) this morning but was slightly puzzled by her reference to the contract ending in 2022, with just the one year extra to 2023, as it doesn't tally with other articles I've read - other than 2023 being the end date of the post contract negotiation. -
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No I mean the Count - it’s his adulterous intentions toward Susanna which drive the plot - right from the Duet Se A Caso Madama to his imploring Perdono in the final scene...Originally posted by Eine Alpensinfonie View Post
It’s funny how adulterers in Mozart are hardly ever successful...Comment
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Really? In opera, perhaps, but in real life?...Originally posted by Leinster Lass View PostComment
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What I didn't know - because Don Gio isn't one of my favourite Mozart operas (perhaps no.5) - was that apparently (Wiki has a reference) the final moralising ensemble was only included on the opening night, and then seldom included until the early 20th c. I always feel the message has been well-made without being spelled out: "Questo è il fin di chi fa mal, e de' perfidi la morte alla vita è sempre ugual."Originally posted by Heldenleben View PostIt isn't given us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world.Comment
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I’m glad they put it back in because it ends with just about my favourite pedal point (with deliciously suspended harmonies ) in the whole of music in it...Originally posted by french frank View PostComment
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It's just that you called him a "serial adulterer", which sounded more like the Don.Originally posted by Heldenleben View PostComment
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You’re right I don’t think the Count was in the Don’s league...Originally posted by Eine Alpensinfonie View PostComment
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It still seems something of an anticlimax after the dramatic scene the precedes it.Originally posted by Heldenleben View PostComment
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I didn't read the right section of the Observer! (Online). I set up a thread covering the issue of UK performers ability to tour in the EU having heard Michael Berkeley on Radio 4 - "Working in EU / Importing from EU (CDs) from 2021":Originally posted by Maclintick View Post
This is the very issue Mr GG covered at great length and breadth. If the UK team passed on the (reported from source) EU offer to include freedom to tour EU countries in the agreement negotiations its an outrage.Comment
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I think anything would be an anticlimax after that ! It is a dramma giocoso though not a tragedy and the scene ties up a few loose ends with Zerlina and Massetto off for a meal and Leporello looking for a new master. I think Mozart cut this end sextet for the 1788 Vienna performance (or so it says in Kobbé) and the Victorians followed suit . There’s also a usually cut duet between Zerlina and Leporello which a recent Glyndebourne production restored . I think in that production Zerlina ties Leporello up in a sort of bondage way - the delights of Regietheater. It all seems so long ago that I saw an opera live maybe the mind is playing strange tricks...Originally posted by Eine Alpensinfonie View PostComment
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It's my view that whatever mistakes/wrong decisions were made in the end stages they were very heavily compounded by (possibly complete)ignorance of the circumstances of musicians travelling to, from, and within Europe. If the matter ever came up it would have been dismissed as being covered by travel for business, judging by the statement to that effect I read in one of the articles about the issue, which in itself is confirmation of ignorance because what musicians do is excluded from the business travel rules (fulfilling contracts, providing services). The other major issue, that of the equipment and instruments, isn't covered by business travel either, but how can a musician travel if, for instance, there is the risk of an instrument being confiscated because it doesn't have the necessary clearance re natural materials such as rare wood and ivory. It's not that musicians never had to deal with all this, it's the fact that there was a choice - working within the EU without all the hassle, and working in ROW with all that that entailed - which as things stand does not now exist, and has serious financial implications. It may well open up opportunities for those in mainland Europe where the previous option of engaging a UK person for a concert, recording or internal tour is unworkable, but in doing so shuts down opportunities for musicians here.Originally posted by Cockney Sparrow View PostI didn't read the right section of the Observer! (Online). I set up a thread covering the issue of UK performers ability to tour in the EU having heard Michael Berkeley on Radio 4 - "Working in EU / Importing from EU (CDs) from 2021":
This is the very issue Mr GG covered at great length and breadth. If the UK team passed on the (reported from source) EU offer to include freedom to tour EU countries in the agreement negotiations its an outrage.Comment
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Speaking to the liaison committee on Wednesday, prime minister Boris Johnson did not appear to grasp the situation facing British touring acts, incorrectly stating that British musicians have “the right to go play in any EU country for 90 out of 180 days” – the EU proposal that the government turned down.Comment
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