Showing posts with label Riccardo Muti. Show all posts
Showing posts with label Riccardo Muti. Show all posts

9 March 2020

Nabucco premieres in Milan

Verdi opera that became a symbol of the Risorgimento


The bill advertising the first staging of Nabucco at La Scala in Milan
The bill advertising the first staging
of Nabucco at La Scala in Milan
The opera Nabucco, with music by Giuseppe Verdi and a libretto by Temistocle Solera, was first performed on this day in 1842 at Teatro alla Scala in Milan.

The opera contains the famous chorus Va, pensiero, a lament for a lost homeland that many Italians now regard as their unofficial national anthem.

The opera and Verdi himself have become synonymous with the Risorgimento, the period in the 19th century when people worked to free the Italian states of foreign domination and unite them under the leadership of Victor Emmanuel, the King of Sardinia and Duke of Savoy.

It is said that during the last years of the Austrian occupation of Lombardia and the Veneto, for example, that Italian patriots adopted Viva Verdi as a slogan and rallying call, using the composer’s name as an acronym for 'Vittorio Emanuele Re d’Italia' - 'Victor Emmanuel, King of Italy'.

On the day of the composer’s funeral in Milan in 1901, a crowd of 300,000 people filled the streets and sang Va, pensiero, conducted by Arturo Toscanini, a moving event that showed how Verdi’s music had helped unite the Italian nation.

But Verdi nearly didn’t take up the offer to compose the music for Nabucco.

Verdi took up the offer to write the  music for Nabucco with reluctance
Verdi took up the offer to write the
music for Nabucco with reluctance
After a terrible two-year period, during which his young wife and two children had all died as a result of illnesses, Verdi had vowed never to compose music again.

During a chance meeting with Bartolomeo Merelli, La Scala’s impresario, Verdi was given a copy of Solera’s libretto, which had been rejected by another composer.

Verdi later recalled in his memoirs how he took the libretto home, threw it on the table with a violent gesture and it opened up in front of him. Verdi’‘s eye fell on the phrase, ‘Va, pensiero, sull’ali dorate’  - 'Fly, thought, on golden wings'.

He tried to ignore the libretto but eventually found himself sitting at the piano and setting the words to music.

It is claimed he was still reluctant about working on the score and tried to take the manuscript back to Merelli, but the impresario stuffed the libretto back in Verdi’s pocket, threw him out of his office and locked the door.

Verdi went home and continued to work on the music and by the autumn of 1841 the opera was complete.

The opening performance at La Scala on 9 March 1842 was an immediate success, establishing Verdi as a major composer. The opera is still regularly performed all over the world today.

Verdi's future wife, Giuseppina Strepponi, was a member of the original cast
Verdi's future wife, Giuseppina Strepponi,
was a member of the original cast
The original cast included the soprano Giuseppina Strepponi, who would later become Verdi's second wife.

Nabucco is named after King Nebuchadnezzar, who featured in the books of Jeremiah and Daniel in the Bible, and the opera follows the plight of the Jews he conquered and exiled. The chorus Va, pensiero - also known as the 'Chorus of the Hebrew Slaves' - captured the feeling of national pride among Italians at the time who were still living under Austrian domination.

In 1981 a journalist proposed replacing Italy’s official national anthem with Va, persiero. This never happened, but the political party Lega Nord - now La Lega - adopted it as its official hymn and the chorus is now sung at all party meetings.

In 2011, after conducting Va, pensiero at the Teatro dell’Opera in Rome, the conductor Riccardo Muti made a speech protesting about cuts in Italy’s arts budget and then invited the audience to sing along in support of culture and patriotism.

Milan's Teatro alla Scala, one of the world's most prestigious opera houses, is right in the centre of the city
Milan's Teatro alla Scala, one of the world's most prestigious
opera houses, is right in the centre of the city
Travel tip:

Teatro alla Scala is in Piazza della Scala in the centre of Milan across the road from the Galleria Vittorio Emanuele II, an elegant arcade lined with cafes, shops and restaurants which was built to link Piazza della Scala with Piazza del Duomo, Milan’s cathedral square. La Scala has a fascinating museum that displays costumes and memorabilia from the history of opera. The entrance is in Largo Ghiringhelli. It is open every day except the Italian Bank Holidays and a few days when it is closed in December. Opening hours are from 9.00 to 12.30 and 1.30 to 5.30 pm.


Rome's Teatro dell'Opera, rebuilt in the 1920s by the architect Marcello Piacentini, seats 1600 spectators
Rome's Teatro dell'Opera, rebuilt in the 1920s by the
architect Marcello Piacentini, seats 1600 spectators
Travel tip:

The Teatro dell’Opera in Rome, where conductor Riccardo Muti invited the audience to join in the chorus Va, pensiero in 2011, is a 1600-seat opera house in Piazza Beniamino Gigli. It was originally opened in 1880 as the Costanzi Theatre and has undergone several changes of name and many improvements over the years.

13 January 2018

Renato Bruson – operatic baritone

Donizetti and Verdi specialist rated among greats


Renato Bruson, pictured not long after his debut in the 1960s.
Renato Bruson, pictured not long after
his debut in the 1960s.
The opera singer Renato Bruson, whose interpretation of Giuseppe Verdi’s baritone roles sometimes brought comparison with such redoubtable performers as Tito Gobbi, Ettore Bastianini and Piero Cappuccili, was born on this day in 1936 in the village of Granze, near Padua.

Bruson’s velvety voice and noble stage presence sustained him over a career of remarkable longevity. He was still performing in 2011 at the age of 75, having made his debut more than half a century earlier.

Since then he has devoted himself more to teaching masterclasses, although he did manage one more performance of Verdi’s Falstaff, which was among his most famous roles, at the age of 77 in 2013, having been invited to the Teatro Verdi in Busseto, the composer’s home town in Emilia-Romagna, as part of a celebration marking 200 years since Verdi’s birth.

Today he is director of the Accademia Lirica at Teatro alla Scala in Milan, a role he combines with a professorship at the Accademia Chigiana in Siena and a post at the lyrical academy in Spoleto.

It was at the Teatro Lirico Sperimentale in Spoleto, the ancient city in Umbria, that Bruson made his stage debut as the Conte di Luna in Verdi’s Il trovatore in 1960, which was a moment that brought deep satisfaction after a difficult childhood.

The parish church of Santa Cristina in Granze near Padua, where Bruson sang in the choir as a boy
The parish church of Santa Cristina in Granze near Padua,
where Bruson sang in the choir as a boy
Born into a family of modest means, he found it difficult to convince his parents that if they allowed him to pursue his desire to study music it would not make him appear to others as workshy.

In an interview many years later, Bruson said that the older generation in Granze as he was growing up took the view that people who went straight from school into the world of work could look forward to a prosperous future, whereas those who preferred to continue their studies were destined never to find their path in life.

Therefore he was given little support from his family, even though they had encouraged him to sing in the parish choir. Fortunately, he was awarded a scholarship by the Conservatory of Padua, 30km (19 miles) away.

His debut in Spoleto was well received and he was soon making his mark at some of the great opera houses of Italy, including the Teatro dell’Opera in Rome (1961), La Fenice in Venice (1965) and the Teatro Massimo in Palermo (1966).

The Teatro Regio in Parma, where Bruson was seen by a talent scout from the Met
The Teatro Regio in Parma, where Bruson was
seen by a talent scout from the Met
His big break came in 1967, when he sang the role of Don Carlo di Vargas in Verdi’s La forza del destino at the Teatro Regio in Parma.

In the audience was Roberto Bauer, whose job was to scour Europe looking for new talent for the Metropolitan Opera in New York.  He was so impressed he sought out Bruson afterwards so that he could arrange a meeting with the Met’s artistic director, Rudolf Bing.  Two years later, Bruson was making his debut on the other side of the Atlantic as Enrico in Gaetano Donizetti’s Lucia di Lammermoor.

In the early part of his career, in particular, Bruson was associated with Donizetti’s baritones as much as Verdi’s, performing in no fewer than 17 operas from the pen of the Bergamo composer.

Over the next few years, Bruson paraded his acting skills, the deep but smooth resonance of his voice and his commanding stage presence at Europe’s leading opera houses.

Another milestone moment came in 1972 with his debut as Antonio in Donizetti’s Linda di Chamounix at La Scala.

In 1975 he took his first bows at the Royal Opera House in Covent Garden, London, as Renato in Verdi’s Un ballo in maschera, and in 1978 came his debut at the Vienna State Opera in Macbeth, the Shakespeare play upon which Verdi had based his 10th opera in 1847.

Renato Bruson in more recent years
Renato Bruson in more recent years
In the meantime, he had also begun what was to be a long and fruitful collaboration with the conductor Riccardo Muti, who was particularly appreciative of Bruson’s vocal style, which had deep resonance without the thunderous qualities associated with some baritones. The singer always wanted audiences to appreciate the quality of his voice, rather than the volume, and to go home “with something in their hearts rather than some sounds in their ears.”

Bruson is married to Tita Tegano, a costume and set designer who has also written several books about the life and work of her husband. In 1996 he was made Knight of the Grand Cross of the Order of Merit of the Italian Republic.

Last year, his career was celebrated again as he was named as the recipient of the Caruso Prize in recognition of his lifetime contribution to the opera genre.  The award is made annually in a ceremony at the Villa Caruso di Bellosguarda in Tuscany, former home of the great Neapolitan tenor and now a museum.

The well-preserved castle at Spoleto
The well-preserved castle at Spoleto
Travel tip:

The ancient city of Spoleto in Umbria, where Bruson made his first appearance in a live opera performance, has a long association with music and other performing arts, which it celebrates every summer with the Festival dei Due Mondi, which sees events taking place in churches, theatres and open squares throughout the city and attracts a high calibre of performers during June and July. Spoleto also has some fine architecture, including a beautiful 12th-century Duomo which has frescoes by Fra Filippo Lippi, who is buried in the church.  The city also has the remains of a Roman amphiteatre and an imposing castle, parts of which go back to the fifth century.

Padua's Palazzo della Ragione
Padua's Palazzo della Ragione
Travel tip:

The city of Padua’s biggest attraction is the beautiful Scrovegni Chapel, made famous by the wonderful frescoes painted by Giotto, but there is plenty more to the Veneto’s second largest city, including a wealth of parks and gardens and a city centre where you will find many more students and local people than tourists.  This is despite Padua boasting the two fine basilicas of Sant’Antonio and Santa Giustina, the oval piazza known as Prato della Valle, the historic centre built around the Duomo, the Palazzo della Ragione and a University established in 1222 at which Galileo Galilei was a lecturer.


17 April 2017

Graziella Sciutti - operatic soprano

Vivacious performer who became a successful director


Graziella Sciutti became an opera star in the 1950s
Graziella Sciutti became an opera star in the 1950s
The operatic soprano Graziella Sciutti, a singer known for a vivacious stage presence and engaging personality who excelled in the work of Mozart, Puccini and Verdi, was born on this day in 1927 in Turin.

The daughter of an organist and pianist, she grew up in a bilingual household, speaking both Italian and her mother’s native tongue, French. Her early childhood was spent in Geneva in Switzerland before the family moved to Rome, so that she could attend the Accademia di Santa Cecilia, which is one of the world’s oldest and most prestigious musical institutions.

Sciutti wanted to play the piano like her father but it became clear she had a notable voice and she caught the eye as a soloist when she was still a student.

She was asked at the last moment to appear in a performance of Bach’s St Matthew Passion, conducted by Herbert von Karajan, the up-and-coming Austrian who would become one of the greatest conductors in the world.  It was a daunting prospect, forced on her at short notice after another singer became ill, but she rose to the challenge and won accolades as a result. 

It led her to be spotted by Gabriel Dussurget, founder and leading light of the Festival at Aix-en-Provence Festival, who had enough confidence in his new discovery to cast her in 1951 in the one-woman opera, Menotti's The Telephone, a role regarded as a test for a young, immature singer.

Sciutti's vivacious character made her a popular performer in Italy and beyond
Sciutti's vivacious character made her
a popular performer in Italy and beyond
Her ambition at that stage was to be a concert singer and she was unsure at first whether she could master the dramatics of opera, yet she was to return to Aix many times. It was there, in fact, that she began to acquire her association with the heroines of Mozart, singing Susanna in Le Nozze di Figaro (The Marriage of Figaro), Despina in Così Fan Tutte and Zerlina in Don Giovanni with distinction.  

In 1954, she made her debut at the Glyndebourne Festival in England, playing Rosina in Rossini's Il Barbiere di Siviglia (The Barber of Seville). In subsequent years she enchanted audiences as Nannetta in Verdi's Falstaff and again visited the Mozart roles of Susanna and Despina.

Sciutti undertook the role of Carolina in Cimarosa's Il Matrimonio Segreto (The Secret Marriage) in the inaugural performances of the Piccola Scala, the small theatre in Milan that adjoined the famous Teatro allaScala, in 1955.  At one stage she was nicknamed ‘the Callas of the Piccola Scala’.

Some critics felt her voice to be too thin for her to be seen as one of the great sopranos but she had the technique to project to all corners of the theatre and, for all her early doubts, she had the acting skills to make up for any shortcomings in her voice. Pretty and petite in comparison with many singers, the innocence, perkiness and coquetry demanded of many of her roles seemed to come naturally.

Her debut at the Royal Opera House at Covent Garden followed in 1956. In 1961 she appeared on stage in America for the first time at the San Francisco Opera, going on to make her debut at the Metropolitan Opera in New York soon afterwards.

Sciutti excelled in the arias of Mozart, Bellini and others
Sciutti excelled in the arias of Mozart, Bellini and others
At the Vienna State Opera she sang many of her best roles, including Nannetta in a staging of Falstaff conducted by Leonard Bernstein and directed by Luchino Visconti.

Sciutti was a regular at the Salzburg Festival for 20 years, her Mozart interpretations always in demand. Her final appearance there came in 1972 as Norina in Donizetti's Don Pasquale, conducted by Riccardo Muti.

Her voice proved enduring enough to appear at Glyndebourne even at the age of 50 as Elle in Poulenc's La Voix Humaine. This was a production she also directed, paving the way for a new career.

She directed Figaro and L'Elisir d'Amore for Canadian Opera and in 1983 her production of Puccini’s La Bohème at the Juilliard School won praise.  A year later she directed at the Met for the first time. Her 1995 staging of La Bohème at the New York City Opera won her an Emmy Award after it was broadcast on live television.

Always eager to pass on her knowledge to opera students and would-be performers, she taught at both the Royal College of Music in London and the Lyric Centre in Chicago.

She married an American singer, Robert Wahoske, in 1955, but they divorced in 1960.  She died in Geneva in 2001, a few days before what would have been her 74th birthday, and was survived by her daughter, Susanna.

The historic headquarters of the Accademia was in central Rome, near Piazza di Spagna
The historic headquarters of the Accademia
was in central Rome, near Piazza di Spagna
Travel tip:

Rome’s Accademia Nazionale di Santa Cecilia is one of the oldest musical institutions in the world, founded by a papal bull (public decree) issued by Pope Sixtus V in 1585. Saint Cecilia is the patron saint of music. Its historical headquarters was in Via Vittoria, not far from Piazza di Spagna, but since 2003 it has been headquartered in Viale Pietro de Coubertin at the Renzo Piano-designed Parco della Musica in Rome. It has had a permanent symphony orchestra and choir since 1895. Alumni include Beniamino Gigli, Sergei Rachmaninoff, Ennio Morricone and Cecilia Bartoli.



An audience at the Piccola Scala in 1978
An audience at the Piccola Scala in 1978
Travel tip:

The Piccola Scala, next to Teatro alla Scala, the opera house in Milan considered to be one of the world’s great opera venues, was opened in 1955 as a theatre dedicated to ancient works that were suited to a fairly intimate setting.  It had room for no more than 600 people. As well as Cimarosa's Matrimonio Segreto, early productions included works by Handel and Monteverdi. Later it staged operas by contemporary composers, including Nino Rota, who was better known for his film music but actually wrote the score for 11 operas.  Sadly, the theatre closed in 1985 after the capacity was reduced to 350 because of new regulations, too small to make it economically viable.



More reading:


How mezzo-soprano Cecilia Bartoli has helped revive lesser-known composers

Giacomo Puccini - musical genius who assumed Verdi's mantle as Italy's greatest

Maestro Muti shows no signs of slowing down


Also on this day:



1598: The birth of astronomer Giovanni Riccioli

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28 July 2016

Riccardo Muti - conductor

Celebrated maestro shows no sign of slowing down


Riccardo Muti
Riccardo Muti
The brilliant conductor and musical director Riccardo Muti celebrates his 75th birthday today.

Since 2010, Muti has been conductor of the Chicago Symphony Orchestra while retaining his directorship of the Luigi Cherubini Youth Orchestra, a training ensemble for talent from Italian and other European music schools, based in Ravenna and Piacenza, which he founded in 2005.

Previously, Muti held posts at the Maggio Musicale in Florence, the Philharmonia Orchestra in London, the Philadelphia Orchestra, the Teatro alla Scala in Milan and the Salzburg Whitsun Festival.

He was named principal conductor and music director for the Maggio Musicale when he was only 28 and stayed there 12 years.  He was at La Scala for 19 years from 1986 to 2005, his tenure ending amid rancour following a conflict with the theatre's general manager, Carlo Fontana.

Muti was born on this day in 1941 in Naples, although his childhood years were spent largely in the Puglian port city of Molfetta, near Bari. He entered the world in Naples, he says, at the insistence of his mother, Gilda, herself a Neapolitan, who travelled across the peninsula by train in the later stages of each of her five pregnancies in order that her children would also grow up as Neapolitans.  In his case, the trials of the journey had the extra dimension of it being wartime.

His father, Domenico, was considered the musical member of the family, possessed of a beautiful tenor voice but a doctor by profession.  He insisted his children - all boys - had a musical education and Riccardo, despite looking on enviously at his friends playing outside while he practised the violin, revealed his talent as early as seven years old.

Muti studied piano at the Conservatory of San Pietro a Majella in Naples, where he also studied philosophy.  He learned the art of conducting at the Giuseppe Verdi Conservatory in Milan.  His influences included the Italian composer Nino Rota, who would become most famous for his movie scores, the conductor Antonino Votto, who was principal assistant to Arturo Toscanini at La Scala, and the Russian pianist Sviatoslav Richter.

The young Muti at the Guido Cantelli competition in Milan in 1967, which he won
The young Muti at the Guido Cantelli competition in
Milan in 1967, which he won
His career took off after he had won the Guido Cantelli Conducting Competition in Milan in 1967. Two years later, as well as accepting the role of musical director at Maggio Musicale, Muti married Cristina Mazzavillani, a young soprano he met at the Giuseppe Verdi Conservatory.

The couple exchanged vows at a tiny church in Ravenna, Mazzavillani's home town in Emilia-Romagna, with Rota and Richter among the witnesses.  Some 47 years on, they still regard Ravenna as their main home.  They have three children, sons Domenico and Francesco and a daughter, Chiara, a former model and actress who has also directed in the theatre.  Cristina is artistic director at the annual Ravenna Festival.

A prolific recording artist who has worked with most of the world's leading orchestras and many of the most famous opera singers, Muti is particularly associated with the music of Giuseppe Verdi.

It was during a performance, celebrating the 150th anniversary of Italian unification, of Verdi's Nabucco at Rome's Teatro dell'Opera in 2011, that Muti showed his political colours, interrupting proceedings to launch into a passionate speech denouncing severe cuts to arts funding announced by Prime Minister Silvio Berlusconi, who was in the audience.

Muti had timed his outburst to follow the rousing chorus of Hebrew slaves 'Va, pensiero'. He resumed by inviting the audience to participate in an encore of 'Va, pensiero', which was delivered with such feeling that some of those onstage were moved to tears.  A week later, Berlusconi reversed the cuts.

Among many honours awarded to Muti is the Order of Merit of the Italian Republic, which equates to a British knighthood.

Muti shows no sign of slowing down.  He planned to spend his birthday working with young musicians and conductors from his Opera Academy at the Teatro Alighieri in Ravenna, where they are performing Verdi's La Traviata. while his diary of engagements is full for many months ahead.  Next January, for example, he is scheduled to return to Teatro alla Scala for the first time since his controversial resignation, as leader of the Chicago Symphony Orchestra.

The pretty harbour at Molfetta, on the Adriatic Coast in  Puglia, where Muti grew up
The pretty harbour at Molfetta, on the Adriatic Coast in
Puglia, where Muti grew up
Travel tip:

Molfetta is a port town situated around 35km north of Bari on the Adriatic coast. It has a pretty harbour and a well restored historic quarter full of narrow alleyways. The old cathedral - the Duomo di San Corrado - which overlooks the harbour is notable for two 20-metre towers, one of which served as a watchtower during the years in which Molfetta was an embarcation point for pilgrims heading for the Holy Land.

Travel tip:

Once the capital of the Western Roman Empire, Ravenna is notable for many elegant squares and a wealth of lavish Byzantine mosaics that can be found decorating many of the city's churches, including masterpieces studded with gold, emerald and sapphire renowned for their exquisite beauty. Look out in particular for the Galla Placidia Mausoleum, the Arian Baptistery and the Church of San Vitale.

More reading:


La Traviata - the world's favourite opera

How Italy mourned the death of Giuseppe Verdi

Toscanini's talent impressed even Verdi himself


(Photo of Riccardo Muti by Andreas Praefcke CC BY-SA 3.0)
(Photo of the young Muti by Gbonaju CC BY-SA 3.0)
(Photo of Molfetta Harbour by Michele Zaccaria CC BY-SA 2.0)

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