By Luigi Dallapiccola
The Italian composer Luigi Dallapiccola (1904-75) continuously characterized himself as a `man of the theatre', and Il Prigioniero (The Prisoner) has been played extra usually than the other Italian opera considering that Puccini. Dallapiccola on Opera, the 1st number of his writings to seem in English, proves that he used to be additionally an encouraged essayist and critic. To the directness and mental perception of his narrative kind, Dallapiccola provides probing remark of information within the severe texts that shape the center of this ebook. no matter if writing approximately everyday masterpieces like Mozart's Don Giovanni and Verdi's FalstaffI/>, Mussorgsky's Boris Godunov and Debussy's Pell130>as et M130>lisandeI/I, or discussing such nice yet difficult works as Monteverdi's Il Ritorno di Ulisse in patria, Busoni's Doktor Faust and Verdi's Simon Boccanegra, Dallapiccola illuminates basic, formerly not noted dramatic and musical facets.
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Extra resources for Dallapiccola on Opera: Selected Writings: Volume One (Musicians on Music)
P. 75). About the Sonatina Canonica, the composer wrote to Fedele d' Amico (see note 23 on p. 50): 'It's a little set of "pranks" (sguerguen;:e, in the dialect of Pistoia) on several Paganini Caprices. Just as Liszt created a pianistic equivalent of the Paganini technique, so - all differences granted - I decided to employ a contrapuntal equivalent of the same technique. l harmony. Luckily, the piece is very difficult (it's dedicated to Scarpini), so there's no danger of its being played by the girls at the Conservatory'.
He was always the same, reasonable and benevolent by nature, full of plans for the future . Did friends and technicians discourage him from embarking on a bold new journey because his liver was enlarged? No matter, he would proceed undaunted. failings, his cowardice and lapses, and our writers of today are only too proficient in exposing these; but we stood in need of one to tell us how a man may be lifted far above himself by his sheer force of will' . Andre Gide, preface to Night Flight by Antoine de Saint-Exupery , transl.
In the course of the discussion, someone asked me whether a figure like Eumolpus, the narrator (storico), transported to the stage of a modern opera, could not take the form of a radio-telegraph operator. Here, in embryo, was the solution to the problem of unity of place: the Radiotelegraphist, the modern Magus, who knows more and learns 5 Melodrama in three scenes for tenor, mixed chorus, children's choir, orchestra, on a text by Andre Gide; composed between May 1933 and January 1934. Premiere: Ballets Ida Rubinstein, Paris Opera, 30 April 1934, conducted by the composer.
Dallapiccola on Opera: Selected Writings: Volume One (Musicians on Music) by Luigi Dallapiccola