Since my last article, which dealt with the first performance given by Signor Merelli's company in Moscow, the latter has already revived and staged a number of operas from the Italian repertoire- Il Trovatore, Rigoletto, Ernani-as well as two from the French repertoire- La muette de Portici and Fra Diavolo.Ī very great deal has already been written and published about Verdi's operas, and I therefore do not consider it necessary to share with this newspaper's readers such platitudes as the fact that this maestro's works, in spite of their occasional flashes of inspiration, are full of all kinds of commonplaces such as are, in general, characteristic of composers of the Italian school. But more than three weeks have gone by and I can point to just about only two such events worthy of being recorded in my chronicle: the appearance of Madame Patti with the Italian Opera Company and the opening of the Russian Musical Society's season of matinée concerts, which got underway with its first series of string quartets. I have been waiting for quite a while for notable events to take place in our musical world which might be suitable as material for my musical conversations with the reader.
This article contains a discussion of Auber's career as a composer, which shows Tchaikovsky's life-long fondness for French music a critical remark about Verdi's popular "barrel-organ melodies" whilst at the same time acknowledging the genuine talent and "sincerity of feeling" which shine through in his music very interesting reflections on Verdi's new, 'Wagnerian' style in Aida an enthusiastic review of Adelina Patti's performance as Violetta in La Traviata reflections on the richness of the German tradition in chamber music an enthusiastic tribute to Schubert's "inexhaustible wealth of melodic invention" and further valuable remarks on Beethoven.Įnglish text copyright © 2009 Luis Sundkvist The Russian Musical Society's Quartet Sessions (Итальянская опера.
0 kommentar(er)
