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This is a revised version of my review of the Sept 5th
1991American premiere of The Death of Klinghoffer, at the
Brooklyn Academy of Music. The opera was first performed at Brussels’ La
Monnaie the previous spring.
"Although there are now more people on this planet than there have ever been before, there are fewer dramatic voices. Something is wrong with that equation. I thought there needs to be some sort of helping hand so that dramatic voices don’t fall through the cracks in the system as they advance through their various stages of development."
Anna Prohaska sings Sister Constance in Poulenc’s Dialogues des
Carmélites at the Royal Opera House. In the same month, she’s also in
London to sing a recital with Eric Schneider at the Wigmore Hall, and to sing
Henze with Sir Simon Rattle at the Barbican Hall.
Garsington Opera celebrates its 25th anniversary this year.
Baritone Brandon Coleman’s mother, Linda, knew that 3-year old Brandon
would be a great singer when a stranger who had heard him, predicted it.
Professional opera returns to the Las Vegas Valley June 6th and 8th with performances of one of the best-known comic operas of all time, Gioachino Rossini's Il Barbiere di Siviglia.
I met with the embattled artistic director of the Opéra et Orchestre National de Montepellier not to talk about his battles. I simply wanted to know the man who had cast and staged a truly extraordinary Mozart/DaPonte trilogy.
Maria Nockin interviews tenor Saimir Pirgu.
Italian conductor Claudio Abbado, former principal conductor of the London Symphony Orchestra, has died aged 80
Matthew Polenzani reprises the role of the Chevalier des Grieux in Jules Massenet’s Manon at the Royal Opera House. “I love coming back to London”, he says, “It’s a very good house and they take care of you as a singer. And the level of music making is unbelievably high”.
On Saturday evening January 25, San Diego Opera opens its 2014 season with Ruggero Leoncavallo’s verismo blockbuster Pagliacci (Clowns).
The Flying Dutchman is a transitional piece because Wagner was only beginning to establish his style. He took some aspects from Carl Maria von Weber and others from Italian composers like Vincenzo Bellini.
The Royal Opera House has its own DVD arm, Opus Arte, and is developing quite a global
following with its cinema broadcasts.
On a personal level, I feel that Dolores is almost like Emmeline grown up. Their circumstances are not exactly parallel, but they are both women at very different points in their lives whose stories involve dilemmas with life-changing outcomes.
With the help of Andrew Welch, a London theatrical producer who had adapted several of King’s works for the stage, including this one, I got the rights to both Dolores Claiborne and Misery.
On September 18, 2013, San Francisco Opera will present the world premiere of Tobias Picker’s opera, Dolores Claiborne, which has a libretto by J. D. McClatchy based on Stephen King’s novel of the same name.
Ermonela Jaho caused a sensation at Covent Garden in London five years ago, when she took over Violetta at short notice from Anna Netrebko.
What do you get if you cross Benjamin Britten, ‘one-page scores’, an innovative performing ensemble and ‘Wigmore Learning’ — the Wigmore Hall’s imaginative outreach programme which aims to provide access to chamber music and song through innovative creative programmes, online resources and events?
Marseille woke up this past January 11 stunned to find itself number two on the New York Times list of 46 places you should visit in 2013 (Rio was number one, Paris just made the list at number 46).
18 Nov 2004
The Biting Kiss
"Pardon me, but your teeth are in my neck": Giambattista Marino, Claudio Monteverdi, and the bacio mordace Massimo Ossi Claudio Monteverdi's "Eccomi pronta ai baci" presents an odd pairing of a first-person female voice with a three-voice low male ensemble;...
"Pardon me, but your teeth are in my neck": Giambattista Marino, Claudio Monteverdi, and the bacio mordace
Claudio Monteverdi's "Eccomi pronta ai baci" presents an odd pairing of a first-person female voice with a three-voice low male ensemble; in addition, the text, by Giambattista Marino, deals with the subject of the "bacio mordace" [biting kiss], and the female speaker invites her lover to kiss her but warns him against biting her. He of course betrays her, and the poem closes with her outraged complaint and vow never to kiss him again. The combination of text, singing voices, and expressive qualities invoked in the setting suggests that Monteverdi went beyond the conceit of Marino's madrigal in exaggerating the comic and parodistic (in the non-musicological sense of the word) aspects of the situation. In this essay, I explore the background of the kiss imagery, focusing specifically on the "bacio mordace" as an expression of "lover's furor" in Classical and Renaissance sources. I then relate the particular conceit of Marino's poem to Emanuele Tesauro's analysis of the dynamics of literary comedy: the device of decettione [deception or reversal] as part of the ridicolo [comedy] and its attendant burle [pranks]. Finally, I offer a reading of Monteverdi's madrigal in terms of Tesauro's definitions, in which I argue that the setting interjects an extra level of interpretation between the poet and the audience. This musical "filter" introduces new ambiguity into the poem's already equivocal situation, expanding its comic aspects.
Journal of Musicology
Spring 2004, Vol. 21, No. 2, Pages 175-200
Posted online on November 15, 2004.
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