In the 1847 version of Macbeth, the forces of Teatro Nuovo lacked the thunderous punch this music can pack, but provided a pleasant ride
It is a measure of Verdi’s genius that throughout the four rambling acts, his musical invention in the service of creating characters never failed him.
I’ve argued with myself for many years as to which was my favorite opera by Giuseppe Verdi, La forza del destino or Don Carlos. The latter finally won out especially after studying it in depth, but in the long run, it is the music of Forza that I love the most.
In online discussion on “Favorite Opera” and cuts in opera in general, it seems Don Carlos (in its original French title) or Don Carlo (as it is better known in Italian) – with or without the “s” – generally get the most votes both as favorite and as an opera from which deplorable cuts are made.
Mr. Wilson’s production concept, according to his liner notes, has more to do with Paris at the time of the premiere and a “world of memory” than it does with the storytelling of civil war in medieval Spain.
“Take a good deal of trouble with it, because it is a fine subject, delicate and full of pathos.”
The big news from Bel Canto at Caramoor’s presentation of Les Vêpres Siciliennes last Saturday is far from unexpected.
Of all of Verdi’s operas. Aida is the one I find least interesting dramatically.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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