Marco Beghelli
Marco Beghelli has been frequenting opera houses for half a century. Today, he is Professor of Musical Dramaturgy at the University of Bologna where he founded the Archivio del Canto in which books and documents on operatic singing and singers are collected
Only by knowing what went on around the great composers is it possible to truly understand why they are great and why their operas have come down to us (and why dozens of other titles have been left behind).
7 comments
It would be enough to compare his official studio recording of this work with the recent performances in Turin to confirm that today Riccardo Muti is no longer totally ‘Mutian’
Anna Bolena is one of the many works by Donizetti which, after their modern recovery in the second part of the last century, have both never fully left the stage while simultaneously never becoming a repertoire staple Lucia di Lammermoor or L’elisir d’amore.
The newest Italian production of L’incoronazione di Poppea was a splendid example of how a 17th century opera can be performed in the best possible way today
The whole performance was reminiscent of long-forgotten ways of doing opera (ways which still find the full approval of an Italian public tired of proposals that are all too “experimental”)
Franz Liszt attempted practically every musical genre in vogue in the nineteenth century, although it is undeniable that a handful of the genres he only sampled (like string quartet) or adapted to his own temperament in original ways (like the symphony).
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