Cher Public

Mr. Imperium

Born on this day in 1892 bass Ezio Pinza

Born on this day in 1810 librettist Francesco Maria Piave.

Born on this day in 1830 composer Karl Goldmark.

Born on this day in 1901 composer Henri Sauguet.

Born on this day in 1911 musicologist and editor Fritz Oeser.

Born on this day in 1914 bass Boris Christoff.

  • fantasia2000

    A question to the esteemed parterrians here. I’m not familiar with Wozzeck at all. If you could choose, would you prefer to see a brand new production by Stefan Herheim, with Bo Skovhus and Camilla Nylund (conducted by Axel Kober), or rather a brand new production by Robert Carsen, with Florian Boesch and Lise Lindstrom (conducted by Leo Hussain)? They are both playing around the same time of my birthday week in October.

    • Porgy Amor

      They are two of my favorite directors working in opera (and I love Berg’s opera), but if I were not familiar with an opera at all, and it were Herheim or Carsen, I would go to Carsen’s. These are new productions, so I am just comparing their typical approaches. They both produced great Rusalkas, for example, but the Herheim is one I would (and did, in the Rusalka history article) recommend for “further reading,” while the Carsen was a good first choice.

      I am not a big fan of Mr. Skovhus, so there is that factor too. Wozzeck could be a better role for him than, say, Eugene Onegin or Count Almaviva.

      • fantasia2000

        Thank you Porgy. That’s what my initial thought also. I only saw one Herheim production before (The Queen of Spades), and while I enjoyed it tremendously, I had to study a lot about “the director’s vision”, so to speak. I’ve seen a number of Carsen productions (Rosenkavalier, Fetes Venitiennes, Falstaff, Tales of Hoffmann). While time and places may shift, I feel that he always stays true to the libretto. (Well, Tales of Hoffmann may be less so).

        • Porgy Amor

          That is what I was thinking. Carsen’s ceiling s going to be algebra, while with Herheim you might get calculus. That Herheim Pikovaya Dama is even pretty tame Herheim (first-rate, though, as direction and also musically).

          I did recently see Carsen’s Don Carlo, four-act Italian, and was startled by two things he did with a major character at the endings of scenes, which made the whole story mean something different from what what we usually see. I didn’t think it worked well or held up to close scrutiny, and it made the sensitive handling of much of what led up…hollow. But that was highly atypical for Carsen, Had it been a Bieito or a Tcherniakov production, I would not have batted an eye. Even there, nothing about the production was difficult to follow. Someone could have come into it never having seen a Don Carlo and had no trouble with it.

    • Cicciabella

      Boesch’s Wozzeck (heard it live recently) was fantastic: raw and powerful, very well sung. I also really like Skovhus on record. It seems you are spoilt for choice re the cast, so going with Porgy’s advice is a sound plan. The conductor is also crucial in Wozzeck, so I’m assuming both gentlemen are up to the job.

  • CarlottaBorromeo

    Strange to mark Piave’s birthday with something he didn’t write… “Plebe! Patrizi!” was written for the 1881 version of the opera, by which time Piave had been dead for five years…