All great conductors need to be able to conduct opera. Any asshole can wave their arms in front of the Concertgebouw and make a symphony sound good. Go in the pit this instant and conduct an unrehearsed Traviata in the German provinces with a divette who’s never seen the theatre before and show me what you can really do. Fausto Cleva, in this glorious Fanciulla from the old Met, demonstrates all the great skills of opera conducting: space, time, breath, support of singers, and even manages to evince a convincing, translucent interpretation of this great symphonic score.
Fausto Cleva was a great opera conductor
Fausto Cleva, in this glorious Fanciulla from the old Met, demonstrates all the great skills of opera conducting
By Ben Miller Ben Miller
Ben Miller is a writer, researcher, and opera queen based in Berlin. His essays, criticism, journalism, and fiction have been published in The New York Times, VAN Magazine, Jacobin, Slate, Tin House, SAND Journal, and more. His favorite opera is Jenufa, and his personal diva is Karita Mattila, who was the Eva in his first live opera: Die Meistersinger von Nürnberg, at the MET, in 2001. www.benwritesthings.com.
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Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!