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Verdi on Stage: Notes on Five Recent Productions - Giuseppe Verdi, Macbeth Simon Keenlyside bar, Liudmyla Monastyrska sop, Raymond Aceto bass Royal Opera Chorus, Renato Balsadonna chorus master Orchestra of the Royal Opera House, Antonio Pappano cond Phyllida Lloyd, stage dir Opus Arte 1063, 2012 (1 DVD: 170 minutes [opera] + 23 minutes [bonus material]), $25 - Giuseppe Verdi, Otello Johan Botha ten, Renée Fleming sop, Falk Struckmann bass-bar Metropolitan Opera Orchestra, Semyon Bychkov cond David Kneuss stage dir Decca 743862, 2012–15 (1 DVD: 157 minutes [opera] + 10 minutes [bonus material]), $22 - Giuseppe Verdi, Otello Gregory Kunde ten, Carmela Remigio sop, Lucio Gallo bar Teatro La Fenice Chorus and Orchestra, Myung-Whun Chung cond Francesco Micheli stage dir C Major 716508, 2014 (1 DVD: 149 minutes), $30 - Giuseppe Verdi, Falstaff Ambrogio Maestri bar, Massimo Cavalletti bar, Fiorenza Cedolins sop, Eleonora Buratto sop, Elisabeth Kulman alto Vienna Philharmonic, Zubin Mehta cond Damiano Michieletto stage dir EuroArts 2072718, 2013–14 (1 DVD: 125 minutes), $30 - Giuseppe Verdi, Falstaff Ambrogio Maestri bar, Franco Vassallo bar, Angela Meade sop, Lisette Oropesa sop, Stephanie Blythe alto Metropolitan Opera Orchestra, James Levine cond Robert Carsen, stage dir Decca 743891, 2013–15 (1 DVD: 127 minutes [opera] + 15 minutes [bonus material), $20
Published online by Cambridge University Press: 18 October 2016
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References
1 The interview was published as ‘L’ira di Maazel’ in Il corriere della sera, 20 August 2008. The 2004 production of La traviata marked the reopening of La Fenice after a fire had destroyed the opera house 18 years earlier.
2 ‘Zeffirelli: Bravo Maazel, basta orrori’, Il corriere della sera, 22 August 2008.
3 ‘No alla lirica arroccata su se stessa’, Il corriere della sera, 23 August 2008, and ‘Carsen: Chi attacca i registi danneggia l’opera (e se stesso)’, Il corriere della sera, 24 August 2008.
4 The issue had already attracted the attention of a number of Italian academics: see Petrobelli, Pierluigi, ‘La regia dell’opera: lettura storica o interpretazione attuale?’, in Enciclopedia della Musica, vol. 4, Storia della musica europea, ed. Jean-Jacques Nattiez (Turin: Einaudi, 2004): 951–955 Google Scholar; Gallarati, Paolo, ‘Mimesi e astrazione nella regia del teatro musicale’, in La regia teatrale: Specchio delle mie brame della modernità, ed. Roberto Alonge (Bari: Edizioni Di Pagina, 2007): 175–188 Google Scholar; Fabbri, Paolo, ‘“Di vedere e non vedere”: lo spettatore all’opera’, Il saggiatore musicale 14/2 (2007): 359–367 Google Scholar.
5 Levin, David, Unsettling Opera: Staging Mozart, Verdi, Wagner, and Zemlinsky (Chicago and London: University of Chicago Press, 2007): 2 CrossRefGoogle Scholar. See also Abbate, Carolyn and Parker, Roger, ‘Introduction: On Analyzing Opera’, in Analyzing Opera, ed. Carolyn Abbate and Roger Parker (Berkeley: University of California Press, 1989): 23–24 Google Scholar.
6 Bianconi, Lorenzo and Pestelli, Giorgio, ‘Introduction’, in Opera Production and Its Resources (Chicago and London: University of Chicago Press, 1998): xi–xiiGoogle Scholar.
7 See Kreuzer, Gundula, Verdi and the Germans: From Unification to the Third Reich (Cambridge: Cambridge University Press, 2010.)Google Scholar For a nuanced discussion of the ontological status of the staging manuals, see Parker, Roger, ‘Reading the Livrets, or the Chimera of “Authentic” Staging’, in his Leonora’s Last Act: Essays in Verdian Discourse (Princeton: Princeton University Press, 1997): 126–148 Google Scholar.
8 Parker, ‘Reading the Livrets’, 148.
9 See Cannadine, David, The Decline and Fall of British Aristocracy (New Haven: Yale University Press, 1990)Google Scholar.
10 See Kreuzer, Verdi and the Germans, 116–24.
11 See Verdi’s letters to the impresario Lanari, Alessandro collected in Verdi’s Macbeth: A Sourcebook, ed. David Rosen and Andrew Porter (Cambridge: Cambridge University Press, 1984)Google Scholar, particularly those dated 15 October 1846 (p. 11), 22 December 1846 (p. 27), and 21 January 1847 (pp. 33–4).