Opera Project Columbus Cavalleria Rusticana Rehearsal Diary Sixth Entry

I didn't drop dead last night. At least I think I didn't.

I can't take comfort in the hackneyed nonsense "Bad dress rehearsal good performance" because last night we had a very good dress rehearsal. Likewise I'm confident of stellar performances. Last night there were a lot of stops but these 'patching' sessions, while horribly nerve wracking, resulted in musical glory. The detail and love given bar to bar for this 200 plus page score can be excruciating to watch and glorious to hear.

Alessandro Siciliani, conductor of Cavalleria Rusticana this weekend. Devastating devotion

Those of us doing this work at a periphery, without the years of total absorption in music and drama, hear the clock ticking and breaks approaching and mental lists of all that will be left unattended and undone, find it easy to lose respect for the score of Cavalleria Rusticana and its drama. I doubt Mascagni himself had such painstaking musical preparation for the opera's premiere in 1890. I wonder what he thought, over the rest of his long life, when it became clear that none of his subsequent works would enjoy the success of Cavalleria, his first opera, written in his twenties. If worked all his life with the intensity, with the drama and the love I have seen over the past few weeks,  he must have been tormented by a few successes d'estimes and a few more downright flops.


I have a new respect for the work-akin to ditch digging, which I've done-involved in preparing a
performance like Opera Project Columbus will present tonight and Sunday. There are people who torment themselves out of respect for the music and the words. I don't have that talent. OPC has been privy to such dedication. You wills see and hear the results beginning tonight.

Visually, I am so proud of this company. They looked splendid. We have a lighting designer who had colored in the pictures with glory.Our thirty plus chorus still sounds like a fine eighty plus chorus. The orchestra is digging in, and singing. I am running around accomplishing little, and sucking down bite size Milky Way bars like they are Vicodin. Where are the guys for the procession? Where's the light cue? Is this the rope for the curtain? What to do about the two principals who showed up last night late and didn't give a shit? Can the people on stage remove their glasses? Can the chorus remember to get in the light?

Yes, I worked hard to establish some sort of vision for the piece. I was disappointed that musical values presented me from a lot of moves on which I had high hopes. Never mind. The point is the score and the point is the audience and both points are and will be wonderfully served.

Here's another artist whose devotion is like what I've been experiencing these past few weeks:

One Verdi Opera a Day: La traviata, I vespri Siciliani, Simon Boccanegra

Renata Scotto as Elena in I Vespri Siciliani

  
I'm continuing to listen to one Verdi opera a day, not on consecutive days but in
order, in partial celebration of the Verdi Bicentennial. I'm also making use of Mary Jane Philips Matz's magisterial biography of the composer, along with books by Julian Budden and Francis Toye. Mostly I'm just listening for my own enjoyment, as I hope my comments reflect

Maria Callas in La Traviata

La traviata   Francesco Maria Piave, based on Dumas fils "La dame aux camellias"  Venice 1853
Inspired by the courtesan Marie DuPlessis (1824-1847)

Maria Callas, Giuseppe DiStefano, Ettore Bastianini/Carlo Maria Giulini La Scala 1955

 
La traviata is an easy opera to take for granted. The story had notoriety before Verdi/Piave got to it, mostly via Sarah Bernhardt and Eleanora Duse. What begins in a brittle and cynical manner becomes an exercise in sincerity that dares you to mock. Violetta may be to sopranos as Hamlet is to actors. Again, Verdi is a great tune smith



We go from hedonism to pathos to deeply moving drama



The role of Alfredo is misleading. He has less to do emotionally in the opera. The heart of the piece is the Violetta-Germont scene in Act II. But Alfredo is no easy sing. He's worth doing for the Act III scene at Flora's if for nothing else




 Don't miss the new biography of Marie DuPlessis, whose life inspired Dumas fils and Verdi 

The Girl Who Loved Camellias by Julie Kavanaugh

  












 










Les vepres Siciliennes   Eugene Scribe/Charles Duveyrier  Paris 1855

Alexandrina Pendatchanska, Gregory Kunde, Dario Solari, Orlin Anastassov/Gianluigi Gelmetti Naples 2011

I vespri Siciliani  Ettore Ciami  Perugia 1855

Renata Scotto, Placido Domingo, Sherrill Milnes, Paul Plishka/James Levine
Metropolitan Opera November 4, 1974

 
These are two different operas with the same music and plot. Verdi wrote a French opera, to a French text for the Paris Opera.

In Verdi's day opera was sung in the language of the audience, thus necessitating an Italian translation, which

Salle Le Pelletier, Paris c. 1850

the composer hated.  Most of know I vespri Siciliani better than Les vepres Sicilienne. I don't know the French text very well. Even so I can tell the words fit the music perfectly. The French language gives this opera dignity the Italian lacks, the latter becoming more of a pot boiler. I would love to see a staged French language production of Verdi's original. I imagine Vepres/Vespri is a bitch to cast. The duets for Henri/Montfort and Henri/Helene are highlights for me. But my favorite moment in this opera is at the very beginning. The Duchess Helene demands her fellow Sicilians rise up against the French: Some of what I mean is at 4:00. But this is a wonderful clip surrounding the Verpres production from Naples cited above

 


Verdi knew that the Italian Vespri would run afoul of the censors. The Italian libretto was refashioned and called Giovanna di Guzman.  Whatever.
 
For I vespri Siciliani, here's a recent production from Verdi's own Parma:




 BTW: Verdi was also working on the French edition of Il trovatore--Le trouvere

Tito Gobbi as Simon Boccanegra

Simon Boccanegra   Francesco Maria Piave   Venice 1857  Music revised with new text by Arrigo Boito Milan 1881

 Tito Gobbi, Giorgio Tozzi, Leyla Gencer, Giuseppe Zampieri, Rolando PaneraiGianandrea Gavazzeni  Vienna Opera Orch and Chorus at the Salzburg Festival August 9, 1961

Sometimes I think this opera gets lost between Traviata and the impending, Ballo, Forza and Don Carlo. I've never paid it enough attention. The tenor and soprano take a back seat to the baritone and bass. Well, I'm here to tell ya, this is one powerful opera. If you don't know, invest 2 hours in a listen. Verdi's music captures both the image of the sea and the grandeur of the Venice of the Doges. There are moments of great intimacy, notably the soft 'Figlia' sung by SB after meeting his adult daughter. The Council Chamber Scene, added in 1881 (I don't know the 1857 version, as far as I know it is rarely performed) I've seen Simon Boccanegra and it plays like the grand opera it is. The last thirty seconds are especially thrilling. Boccanegra dies of poison. The crowd outside is calling for him. Fiesco says Greet Gabriele Adorno, your new Doge. No! Boccanegra! He is dead. Pray for his immortal soul". "



Verdi was apparently discouraged and annoyed with thew opera's failure in 1857. He had written it off until Boito convinced  the composer to accept the revisions, giving us the opera as performed today. Don't miss Simon Boccanegra