Physical culture
So La Cieca can only assume at this point that Franco Zeffirelli wants to spare his family the expense of an elaborate funeral, because he does seem to be going out of his way to alienate not only colleagues but the public as well. Now the legendary stage director has protested the appearance of popular soprano Daniela Dessì in “his” Traviata, complaining that she lacks the proper physique du rôle!
The last two weeks of December, the Teatro dell’Opera di Roma scheduled a major revival of Zeffirelli’s well-received 2007 production of La traviata, a series of performances that attracted great attention because they were to feature Dessì’s European role debut as Violetta. (She has sung this central role once before, back in the early 1990s, but only in Japan.)
Now, we don’t get a lot of appearances by Dessì here in the US, but in Italy she is a great favorite: her role debut as Norma last season was major news there. So it seems perverse almost to the point of lunacy on the part of Zeffirelli to blackball her casting as Violetta on the basis of appearance. According to a comment by Dessì’s partner Fabio Armiliato on the blog OperaClick,
Le motivazioni sollevate in questa circostanza da Franco Zeffirelli per la TRAVIATA sono nuovamente relative SOLO all’aspetto fisico: questa volta rivolte nei confronti di Daniela Dessì, la cui “fisicità” non rispecchierebbe l’idea del maestro per il personaggio di Violetta Valery!!!
We are further informed that last year Zeffirelli protested the casting of Armiliato as Canio — citing the same issue of “fisicità.” The Italian tenor was replaced on that occasion by Stuart Neill.
Here is La Dessì earlier this year as Adriana Lecouvreur:
For those of us who do not speak Italian….Translation, per pieta?
She looks like an attractive woman to me.
As long as they aren’t hurting anyone I just ignore what old people say, especially when they’re just being bitter and mean.
La Zeffa also ordered Violeta Urmana to lose so much weight for Aida at the Scala prima per lo stagione 2006-2007.
Not a patch on Masterson, who also looked a treat.
She doesn’t appear to be any heftier than many other onstage consumptives, but from the vocal evidence presented here, she will have more trouble sounding the part than looking the part.
Could the Zef be talking about Dessi’s age? he certainly could not be talking about her weight because she is not a heavy woman.
I heard that all geniuses end up turning into caricatures, I have seen it happen with Lagerfeld, now with the Zef. he needs to shut up
The Teatro dell’Opera seems to be in total disarray. Casting has been erratic with most of the announced cast lists this past season qualifying for the Booker Prize for fiction.
Here’s the possible casts for the upcoming Traviata:
Fabio Armiliato
Anastasia Boldyreva
Daniela Dessì
Cinzia Forte
Antonio Gandia
Mariella Guarnera
Carlo Guelfi
Katarina Nikolic
Myrtò Papatanasiu
Stefan Pop
Antonella Rondinone
Dario Solari
Mina Yamakazi
No indication of who’s singing what night or frankly given some of the names what roles.
Mind you is any wonder – since much loved and respected General Director Ernani was “released” from his duties by the current government and his temporary replacement by Mayor Alemano things have gotten bad. The good Mayor dissatisfied with not being able to get pot holes filled in, garbage picked up or gutters cleaned out in time to stop flooding from winter rain feels however that he can run an opera house!
In May I received an announcement signed on his behalf by some interim comptroller as a subscriber telling me how important I was and that there would be an exciting new 2010 season announced shortly. It is now November and still no announcement. Subscribers to the full series of 7 operas – I only took 5 last year but it was for a box seating five – have been offered renewals but no one else. Repeated requests to the Box Office for information have gone unanswered.
And as a ballet subscriber I was just thrilled when told in October that the promised November revival of The Red Poppy had been canceled but my tickets would be honoured for an added performance of Swan Lake – oh such joy another opportunity to see Swan Lake rather than a much anticipated viewing of a often talked about but little seen work.
As for Daniela Dessì she is a great favorite here – and justifiably so – as is her other half. It is sad that the direction is listening to the ravings of a mad old queen on the subject of casting. I am assuming that someone like Cinzia Forte is singing Violetta based on her physical suitability because if the Gauce in Medea that I was in Torino last year is any indication she sure as hell won’t have the voice for it.
With the government cut of 30% to arts funding things are not good for opera, ballet, theatre or museums here but it would be interesting to see what it is costing to buy out someone like Desi who originally had a five performance contract for the Traviata.
Sorry if I am rambling here but as much as I love this country,Italy can be the most frustrating place. And when arts are tied as closely as they are here to politics it becomes insanity.
… and what makes Stuart Neill so physically right for Canio?
It was as Don Carlo that Neill replaced Armiliato at La Scala, surely. Hardly a vision of lean, guilt-wracked romantic ardour – but we mustn’t be fattist. Dessi is a handsome woman. I wish we could occasionally see her in London. Poor Zeffirelli does come across these days as a bitter old has-been. I enjoyed the Pagliacci he touted around the world with Domingo a few seasons ago – it was a blast from the past of course, but full of life, “verismo” detail and still convincing after its fashion. The Met productions I have seen all look as if he has had far to big a budget to squander on unnecessary flim-flam. When I saw the Boheme I struggled to find Mimi, Rodolfo and Musetta in the Café Momus melée. But the Met audience seems to love those big Quartier-Latin-in-your-backyard experiences.
MontyNostry: I saw the Pag with Neill and though he was a bit of a bear it worked out pretty well dramatically and very well vocally. Mind you we had a stage full of Zef acrobats, a few bare chested boys (quel surprise!!!), if I recall a donkey and a gaggle of kids so the drama… BOH!
Willym…the way things are in Roma now, I wouldn’t be surprised if Dessi never received a contract out of which to be bought. And I don’t think it would ever occur to her that they would pull her from a production.
Big Q – you have to see Dessi on stage…and I wouldn’t take Adriana as a good indication of how she will sing Violetta (which is a very different opera when done in Italy anyway).
Good point browser on both counts. Dessi is one of those performers who has to be seen to be appreciated. Her Minnie here was a great experience and even if she had difficulty with the Traviata or parts of it, it would have been an event.
You can trust La Cieca on this as on so many things, baritenor.
In the printed extract above, FZ is allegedly making comparisons between the 2007 Violetta and Dessi. Sgr Armiliato reports that apparently DD’s physique does not correspond to the maestro’s ideas regarding the personality of VV.
I presume that by ‘maestro’, Sgr Armiliato is referring to FZ himself and not Verdi. Either way, it’s little wonder he ended his report on a triple-exclamation mark: Dessi is in good nick physically. But perhaps only Ms De Niese will do?
Note that the report is exactly that – I do not see any direct quote from FZ on the blog link.
Neill replaced Filianoti as Don Carlo at La Scala.
It appears Mr. Zeffirelli has become the self-appointed arbiter of opera production world-wide. Fortunately he didn’t get his hands on New York City Opera. Actually, the problem isn’t so much La Fef–he can just be ignored until he goes off to harass somebody else–but any opera company that would be so stupid as to knuckle under to his ravings. It’s sad–he used to be an artist several decades ago.
Precisely so. Dessì herself has said that her Violetta would be in the mold of Tebaldi or Zeani. I am sure she won’t give the most acrobatic rendition of the first act cabaletta, and obviously she won’t end it with a E flat, but the two other acts (which are the core of the opera, let’s not forget it) are her turf.
And let’s not forget that in Italy political connections are extremely important, and la Zeffa is very well connected to the current right wing government, and doesn’t waste a chance to publicly praise Berlusconi.
As Luc Bondy said, after Zeffirelli called him a second rated European director: Zeffirelli is and was always the second assistant of Visconti. Which is true, Pasolini and Bertollucci were in front of him.
Just saw the final dress rehearsal of L’Elisire d’amore in Munich. Except the stupid staging of the soldiers a wonderful performance. The tenor played his part with a Chaplinesque touch, which worked just perfect and he is a very very good singer. The whole cast was very good. The leading soprano looks beautiful and after the break, she sang very well, before it was probably to early for her.
Dessi is most probably my favorite lyric soprano in activity today (Stoyanova being a runner-uper).
There are many things rotten in the city of Rome nowadays, and Zeffirelli should be declared a few years back – right now he should be institutionalized.
Declared insane, I mean.
Reading Armiliato’s post in operaclick gives me more admiration for him and his wife.
Let’s not forget that Berlusconi’s protective circle is getting smaller by the second, and he’s going to most likely end up in prison for quite some time.
I adored Valerie Masterson – what a treat she was; one of the great Gilbert and Sullivan sopranos of all time!
Has anyone dug up the reasons why Zeff would diss the Dessi? That Italian blog says nothing except that she doesn’t fit his idea of the Physique du Role. Does he want a blonde? And why does this old fart still have a pulpit for such whining?
The editorial of that blog operaclick says that according to Zeffirelli Ms Dessì is not “esangue e emaciata” (exsanguine and emaciated) and enough for his view of Violetta. Ms. Dessì is a beautiful voluptuous busty woman and I guess Zeffirelli did not appreciate these qualities.
Does old Zeff still have an official position anywhere? Just what is his title?
Particularly the “woman” quality…
Then, why not have Fillanotti sing Violetta and Stewart Neil sing Alfredo? Maybe that will please la Zeffa.
to quote Will:
self-appointed arbiter of opera production world-wide
Big whinny bitch also seems to apply.
I wonder what is the real source behind all of the big Zef’s bitterness? I bet there’s a really juicy big old reason …
Nonetheless, in all of this he is making a big a-hole of himself.
Mert – Isn’t being a has-been old queen sufficient
reason? I always thought so!
Dementia is a terrible thing.
Zeffirelli used to be a Senator of the Italian Republic, elected with Berlusconi’s party Forza Italia. He doesn’t hold any official position right now, but he is extremely well connected with both the Vatican and Berlusconi. Berlusconi owns the villa on the Appia Antica where Zeffirelli lives. Zeffirelli has been renting that grandiose villa for over 30 years; however a few years ago the owners of the villa declared bankruptcy and had to sell it. Berlusconi bought it and allowed Zeffirelli to live there as long as he is alive, without paying any rent. Also, a few years ago, he offered his services as an image consultant to the Pope, thinking that the Pontiff wasn’t doing a great job promoting himself. The Pope politely declined. Zeffirelli declares himself to be profoundly Christian and vehemently opposes same-sex civil unions.
Perhaps Zefferelli’s last direction is probably going to be called a production of Tea with Berlusconi.
As for when he offered his services to the Vatican, he would have been completely in his element. All those super epic big St Peters Square shows, are the finest displays of ‘cast of thousands’ Grand Opera imaginable anywhere. They just did not happen to offer the job to Cecil B de Mille when he was alive.
Caro Mr Willym
What can you expect when the primary occupation of Romans is, to paraphrase Fran Liebowitz, “going to lunch”??
When I was a resident romana there was no sovrintendente at Teatro all’Opera for the entire time I was there, nearly three years.
Last year, about this time, I was visiting and had the grand pleasure of seeing “La Sonnambule” — did you see it as well? It would be nice to hear your thoughts on this loving recreation.
Grazie tanto e Buon Pranzo!!!
Ciao Camille
That is one of the good things about having Carla Fracci as director of the ballet company – she has revived some wonderful 19th century works. There is a downside in that she still insists on dancing but let’s not visit that question.
Yes I saw the Somnambule – it was a lovely performance. Well danced and designed with a real flavour of period ballet. I had a conversation with the choreographer Luciano Cannito afterward and he was telling me he had very little to go on for the reconstruction. He decided to create his choreography within a Bourneville style and it really did work. We were lucky to have an example of the Danish style when Thomas Lund was here last month for a revival of La Sylphide.
And this past season Dr. Ernani’s last – was an interesting if uneven one. It is a shame that things have come to this.
La Diva Carla is still dancing???
Oh dear. I truly hope it is not too embarrassing to witness. After witnessing her Black Swan @ Scala in spring ‘86, I have never seen a ballerina to equal her. Never forget the milanesi yelling ‘Carla, Carla’ for her at the end. Utterly Stendhal!!!
Thank you very much for your information regarding the choreography as I was, indeed, most curious as to how it was reconstructed. I felt privileged to have had the opportunity to see a recreation done on such a level.
May I also ask this, Sigr. Willym, did you see the ‘Amica’ of Mascagni, which I just narrowly missed. Another rarity. I was wondering if it were a success. R.S.V.P.
Buona Domenica!
You’re quite a boring twat, aren’t you?
Don’t you mean ‘twit?’
I think so too.
perfect example.
I was an admirer of the Zef for many years; it’s sad to see what his career has deteriorated into.
But the worst of all is the news that the Arena di Verona will install microphones. Apparently, entirely at the Zef’s insistence.
Granted, the Arena was never the place to witness a subltle performance, but all of the arguments made to justify amplification outdoors will eventually be made to justify amplification indoors, as well.