A faithful parterreian writes: “Recently, I was listening to various performances of ‘Amami Alfredo’ and was struck by the August 29, 1939 Stockholm performance (sung in Swedish) with Hjordis Schymberg and Jussi Björling. After she finishes the passionate outcry, the orchestra, instead of playing Verdi’s agitated three measures of exit music, launches into a grand reprise of the tune of ‘Amami Alfredo’.”

Two questions: 1) Why? and 2) How might this postlude be staged?

Here’s the excerpt: [Amami Alfredo]

Call for submissions: parterre box‘s new Talk of the Town

Call for submissions: parterre box‘s new Talk of the Town

Sponsored

Call for submissions: parterre box‘s new Talk of the Town

parterre box is launching a new themed regular feature curated by our readers and opera fans across the world! We are asking for your favorite clips, recordings, and anecdotes to get people chatting, listening, and thinking.

From parterre box

parterre box is launching a new themed regular feature curated by our readers and opera fans across the world! We are asking for your favorite clips, recordings, and anecdotes to get people chatting, listening, and thinking.

From parterre box