Category Archives: Verdi
Esultate – Otello’s Entrance
Written by Neil Kurtzman | 10th January 2019There are many great entrances in opera. But none seems as compelling, informative, and brief as that of the title character in Verdi’s Otello. Only 12 bars long, it lasts barely more than half a minute yet it defines Otello’s persona with a force and directness that is without peer. Julian Budden in his exegesis…
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There’s No Explaining (Bad) Taste
Written by Neil Kurtzman | 8th December 2018A review of the Met’s new production of La Traviata by Daniel Gelernter contained this statement: “As an artwork, it [La Traviata] is less valuable than the Alexandre Dumas novel on which it is based: Camille is a first-rate romance. La Traviata is more histrionic than subtle, but it manages a number of superb moments,…
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The Grand Inquisitor
Written by Neil Kurtzman | 7th December 2018The scene in the king’s apartment of Verdi’s Don Carlo(s) is my choice for the greatest in all opera. [It is Act 4 scene 1 in the 5 act version.] Its moral grandeur, psychological insight, and musical characterization place it on an artistic level reached by only a handful of art’s supreme masters. The most interesting…
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Why is Beethoven Greater Than Reicha?
Written by Neil Kurtzman | 19th November 2018I recently attended a performance of one of Antonin Reicha’s wind quintets – there are 24 of them. The number of the one I heard was not given. It was a competent work devoid of genius. Reicha (1770-1836) was born the same year as Beethoven and went to the same high school. They became friends….
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Aida in HD 2018
Written by Neil Kurtzman | 6th October 2018Aida was performed today by the Met for the 1166th time. This broadcast was HD telecast number three for Verdi’s Egyptian extravaganza. The hook for this run of the perennial was Anna Netrebko in the title role. There’s nothing new anyone can say about this opera so let’s get right to the show. Netrebko is…
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Verdi: I Vespri Siciliani- Quando al Mio
Written by Neil Kurtzman | 11th September 2018“Here is the great tenor-baritone duet (Quando al mio) from Act 3 [of I Vespri Siciliani]. Verdi never wrote a better duet. In this piece, Monforte [baritone] reveals to Arrigo [tenor] that he is his son. Arrigo is torn three ways. First, he fears he will lose Elena [his fiance] because he promised her he…
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Tutto Verdi – Falstaff
Written by Neil Kurtzman | 12th August 2018The curtain descends, everything ends, too soon, too soon Ogden Nash Verdi’s valedictory opera was performed by Parma’s opera company as part of their complete survey of the Master’s operas. The show was presented at the Teatro Farnese di Parma instead of the Teatro Regio for reasons unknown to me. I’ve written a lot about the…
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Di Quella Pira
Written by Neil Kurtzman | 23rd June 2018‘Di quella pira’ is the cabaletta to the aria ‘Ah sì, ben mio’ which together make up almost the entirety of Act 3 scene 2 of Verdi’s Il Trovatore. The number’s famous high C (or sometimes Cs) were an addition to the score that Verdi allowed provided, he added, that the high note was good….
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Tutto Verdi – Otello
Written by Neil Kurtzman | 12th June 2018Verdi’s penultimate opera is both a supreme masterpiece and the greatest killer of tenors in the Italian repertory. I’ve written enough about the merits of this opera on these pages to allow me to concentrate solely on the video disc that is part of Parma’s survey of all Verdi’s operas and on Latvian tenor Aleksandrs…
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Finale 18 – Otello Act 3
Written by Neil Kurtzman | 8th June 2018The finale of Act 3 of Verdi’s Otello consists of the most elaborate concertato that Verdi ever wrote. The following comments borrow from Julian Budden’s analysis of this piece in the third volume of his definitive The Operas of Verdi. Verdi wrote great concertatos throughout his career. They are among the great achievements in opera. Otello’s…
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