A little later they sent Arrigo Boito to him to talk casually about a libretto for Otello. During a dinner the publisher Ricordi and the conductor Faccio talked with Verdi and his wife about Shakespeare’s dramas as models for operas. He enjoyed his large country house in Sant’Agata with his 16 employed gardeners. Verdi was almost 70 years old and didn’t want to write any more works. The collaboration with the librettist Arrigo Boito Of course, this is related to Wagner’s musical drama and the infinite melody, even though Verdi as a cultural nationalist (Abbate, Parker) rejected this several times. This makes the music more dramatic, at the expense of the recurring melody. In addition, Arrigo Boito’s text is no longer structured in classical verse dimensions, but is more natural and diverse. The flow of plot and music is no longer disturbed by the artificial division into recitativo and aria. It is no longer the individual numbers that form the structure of the opera, but the dramatic units of the scenes. A path that he had already embarked upon with Macbeth and Simon Boccanegra and consistently continued with Otello. The unique position of “Otello” in the work of the great Italian master is connected with the consequent step to the musical drama of a through composed opera. Unis dès la plus tendre enfance (Iphigenia).Madamina, il catalogo, Catalogue Aria (Don Giovanni).Je dis que rien ne m’epouvante (Carmen).Glück, das mir verblieb (Die tote Stadt).Dies Bildnis ist wunderschön (Zauberflöte).Dein ist mein ganzes Herz (Land des Lächelns).With something like the “Ave Maria” - if you have these keys, these technical doors that you go and you explain, the rest changes. But they are so open to work and try to understand things. After conducting around the world, to arrive here and have the chance to do this amazing work. And sometimes you have to start with this first, and then dimension the rest.Īfter all of these years, having a chance to make a debut with an orchestra like the Met’s is amazing. Then, to arrive here, the arc that we build, for this to make sense - this is the secret. If you start from here, you have canons, percussion - this is obvious, this is a storm, this is excitement. But I believe that we build from the small things to the big things.Įspecially when you are studying a score: how to dimension everything, for this not to be weak. I believe sometimes the secrets of a dramatic play are in the small places - in the places you never think they would be. Then, after, comes the moment where Verdi, amazingly, writes a double bass solo and creates this very dark moment.Īnd Otello’s first words before he kills her are asking whether she has prayed. It’s also almost like she knows she’s going to die, and she’s praying to purify her soul.
0 kommentar(er)
