Newsgroup: it.arti.musica.classica
Titolo: Vespri al Met: precisazione

Vorrei precisare che qualche burlone ha ricopiato una mia mail su opera list 
in inglese per inserirla in questo newsgroup cambiando moltissimi punti 
aggiungendo cose che non ho mai scritto. Si tratta del post relativo alla 
trasmissione dei Vespri dal Met. In particolare preciso che solo uno 
sprovveduto privo di gusto potrebbe affiancare la Studer alla Gencer o alla 
Callas... Ecco, questo ci tengo a precisarlo. Passi il resto ma questo no !
Ecco il post originale:
Yesterday night the italian radio broadcasted live from the Met a new 
production of Verdi's Vespri Siciliani. I was really very happy to listen to 
a Met performance again since without the Texaco sponsor the broadcasting 
was not sure. Is very important I think to keep on broadcasting from the 
Met, not only for the joy of opera lovers but also as a great prestige of 
american artistical level that can give an impressive image around the 
world. In fact my first impression as an italian opera fan was that U.S. are 
not competitive only in tecnology and business but can reach high level in 
arts and culture as well (I never doubted about of course !).
Vespri Siciliani is a very difficoult opera to perform. Long, not a real 
masterpiece, looking to  french "grand opera" ... not the best Verdi you can 
listen to. But still has great music and singing and during the "opera 
golden era" was in the repertoire of the main opera houses and greatest 
singers (Callas, Gencer, Caballč, Scotto, Deutekom, Arroyo, Domingo, 
Carreras, Bonisolli, Milnes...). Gavazzeni during the 60thies in a Rome 
performance reopened the cut of the dances. The opera is so difficoult 
(expecially soprano and tenor) and with the recent decline of great singing 
is not performed very often ( I remember the Scala production conducted by 
Muti, not a great success with Studer and Merritt bhooed from the audience). 
So I was very pleased with the choice of the Met to put this title again in 
the season (Palermo too in Italy opened the season with this opera).
My impression form the listening is of a great artistical level production. 
The highest level is the Met orchestra. Simply marvellous. Musicians are 
talented, professionals and the sound is wonderfull... An amazing level 
competitive with the best orchestras around Europe and Russia. N.Y city has 
to be proud of this unvaluble  artistical resort.
Frederic Chaslin was a nice surprise to me. He conducted very well altough 
he is too indulget with singers following their tempos and slowing down the 
orchestra. But for the rest he made a picture rich of colors and life of 
this complex score.
With the luck of verdi tenors today, Casanova is phereaphs the best choice 
for the role. His voice is nice in the middle range but loosess timber in 
the high passages becoming a bit compressed. Anyway he has the correct 
intections and fraseggio and comes out with dignity from a very difficoult 
part.
Radvanosky has better volume and timber but still this part is very 
difficoult. She does not create a new Elena that can compete with the 
greatest. I mean her character  is not so drammatical as Callas, coloratura 
as Deutekom, lirical as Caballč or Gencer. Her Elena is a bit anonymous. She 
also slows down too much in some moments. But in the complex her performance 
is good and sure.
Leo Nucci is wonderfull. I know, as somebody wrote in the list, his voice 
has not the real timber of Verdi baritone. But still he gives with this 
Monforte a singing lesson at 62 !!!
Not the same for Ramey. He has lost the complete control of his voice.  I am 
sorry to write this, but he should retire. He is a too great singer to allow 
his vocal decline to be witnessed with this recording.
Chorus is not at the same level of the orchestra. A shame !!!
I would like to come to N.Y. and listen to this Vespri. In Milano the Verdi 
theater is now a "baroque opera house". No Verdi music. The theater reopened 
with a boring unknown opera... but this is another (sad) story.
All the best from Italy
Marco Daverio

 Ecco il post originale:
Caro Marco, ho letto il post cui tu alludi e sono rimasto stupefatto. Mi
sembrava, appunto, che dicesse un sacco di frignacce. 
Il post e' stato mandato in crossposting anche a rec.music.opera e ha
avuto risposte alquanto irritate da alcuni Ngisti americani.
Credo sia opportuno che tu invii il tuo post a quel NG, se non l'hai
gia' fatto, spiegando anche cio' che hai spigato ora.
Ciao
Rudy
-- 
For there was never yet philosopher 
That could endure the toothache patiently 
(Shakespeare: Much Ado about Nothing)

 avuto risposte alquanto irritate da alcuni Ngisti americani.
Consiglia a questi signori di farsi un giretto su questo
Ng:-))))))))))))
Ciao
G.

 sembrava, appunto, che dicesse un sacco di frignacce.
Grazie lo farň immediatamente.
Saluti
Marco Daverio 

Yesterday night the italian radio broadcasted live from the Met a new
production of Verdi's Vespri Siciliani. I was really very sad to listen
to a Met performance again since without the Texaco sponsor the
broadcasting was not sure. Is not very important I think to keep on
broadcasting from the Met, not only for the joylessness of opera lovers
but also as a great embarrassment of american artistical level that can
give a depressive image around the world. In fact my first impression
as an italian opera fan was that U.S. are not competitive in tecnology
and business but can reach low level in arts and culture as well (I
never doubted about of course !).
Vespri Siciliani is a very difficoult opera to perform. Long, not a
real masterpiece, looking to french "grand opera" ... not the best
Verdi you can listen to. But still has great music and singing and
during the "opera golden era" was in the repertoire of the main opera
houses and greatest singers (Studer, Callas, Gencer, Caballè, Scotto,
Deutekom, Arroyo, Domingo, Carreras, Bonisolli, Milnes...). Gavazzeni
during the 60thies in a Rome performance reopened the cut of the
dances. The opera is so difficoult (expecially soprano and tenor) and
with the recent decline of great singing is not performed very often (
I remember the Scala production conducted by Muti, a great success with
Studer and Merritt adored by the audience). So I was very displeased
with the choice of the Met to put this title again in the season
(Palermo too in Italy opened the season with this opera).
My impression form the listening is of a poor artistical level
production. Even though musicians are talented, professionals and the
sound is wonderfull... A respectable level not nearly competitive with
the best orchestras around Europe and Russia. N.Y city should be
looking for its artistic pride elsewhere.
Frederic Chaslin was not a surprise to me. He conducted very badly
altough he is too indulget with singers following their tempos and
slowing down the orchestra. But for the rest he made a picture bland of
colors and life of this complex score.
With the luck of verdi tenors today, Casanova is phereaphs the worst
choice for the role. His voice is nice in the middle range but loosess
timber in the high passages becoming a bit compressed. Anyway he has
misplaced intections and fraseggio and comes without dignity from a
very difficoult part.
Radvanosky has no better volume and timber but still this part is very
difficoult. She does not create a new Elena that can compete with the
greatest. I mean her character is not so drammatical as Studer or
Callas, coloratura as Studer or Deutekom, lirical as Studer Caballè or
Gencer. Her Elena is a bit anonymous. She also slows down too much in
some moments. But in the complex her performance is foul and unsure.
Leo Nucci is also not so wonderfull. I know, as somebody wrote in the
list, his voice has not the real timber of Verdi baritone. But still he
gives with this Monforte a retirement lesson at 62 !!!
The same for Ramey. He has lost the complete control of his voice. I
am sorry to write this, but he should retire. He is a too great singer
to allow his vocal decline to be witnessed with this recording.
Chorus is at the same level of the orchestra. Shameful !!!
I would not like to come to N.Y. and listen to this Vespri. In Milano
