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North America. Show only see all Show only. Jahrhundert zu schaffen versuchte. Und nun Anthony Barrese himself: To begin with — the usual question: what brought you to this opera and to the composer? So what made you aware of this particular one? Hamlet is my favorite Shakespeare play, and has been since my early teen years.
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When I started exploring the world of opera, I was shocked to discover that there was no credible in my opinion operatic treatment of the subject. And then I heard that Boito had written a Hamlet libretto, and that it was not only his first Shakespeare libretto, but his first libretto ever.
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Verdi is the cornerstone of this period — what sets Faccio apart from Verdi? How individual is his music as against Verdi? Tell and all that as Verdi did? How much is he indebted to Donizetti and the Belcanto-composers? I am listening to your musical examples of Amleto on your website — his great aria and scene right now — Hamlet as a tenor seems so weird after Thomas and all that. It makes him younger for sure, maybe less weighty and more traditional? Also, he uses very subtle techniques like cymbal crashes ppp , an effect that you do not see much of before verismo.
Casting Hamlet as a tenor makes more sense to me in the Italian tradition, especially middle and late Verdi, where the hero is a tenor, and the evil presence is a lower, darker voice. In fact all of the voice types are perfectly cast.
Ofelia is a lyric soprano, Geltrude is somewhere between a soprano and a mezzo soprano, giving her a darker, more matronly quality. And the ghost is a basso profundo , which gives his character more dramatic and musical weight. Some remarks about Faccio? His position in Verdis life, conductor,of Aida and all that. Is there a good book on him? Info is difficult I find.
Both books have a lot of the same material. In his youth, along with Boito, Faccio was an important figure in the Scapigliatura movement of young composers, writers, artists, etc. A lot of it was polemics and manifestos. Verdi took a different turn I think — but this leads to Catalani and Mascagni, no?
I think there are definite shades of verismo in the music. There were many changes between the premiere and the La Scala production. Like an extended recitative. He was a brilliant orchestrator, and clearly used the orchestra to paint a mood. Faccio also uses the orchestra to great effect in the Act 4 Marcia Funebre which gives the drama some breathing room between the comedy of the gravediggers and the confrontation between Laertes and Hamlet. It is a fascinating piece that can stand alone, but that also works within the context of the drama.
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