Pappano sull'opera in Italia
Federico Spano`
"I tell Pappano it can be no coincidence that his televised survey of
Italian opera stops around 80 years ago, after the premiere of Turandot,
Puccini’s last opera. Surely he must recognise that Italy no longer has
singers or composers of renown, and most of its opera houses are
cash-strapped and artistically moribund. Does he not recognise the
dislocation between Italy’s heritage and its cultural life?"
"He says modern Italy may be flawed but not hopelessly so. “Any culture
that has enjoyed tremendous success will eventually sit on its laurels:
look at Greece and Germany. Italy takes its past for granted, but I see
it as an opportunity – to make audiences realise culture is alive, not a
museum.”"
"But, I ask, how do you achieve this when cultural institutions in Italy
are subject to the worst kind of political interference? “Every country
has corruption,” retorts Pappano, alluding to Britain’s parliamentary
expenses scandal. “Italy suffers from extreme union demands and
administrative incompetence, but there are plenty of people there
fighting the corner of art and beauty, and they are not all over 75. I
have a lot of gifted young Italians auditioning for my Rome orchestra.
When I see their atteggiamento [attitude], it gives me hope.”
What Italy needs, he says, is a new style of cultural leadership,
capable of nurturing talent and making it coalesce, “because one of the
difficulties in Italy is how to create teams”. The other necessity is “a
highly energised live experience” – by which he means the
audience-friendly policies instituted by Covent Garden 10 years ago,
involving increased productivity, talks and educational programmes.
“Audiences in the past were more educated [in the classical arts],” he
says. “If a person read Tolstoy, D’Annunzio or Dante, they already had a
treasure trove of cultural baggage. They didn’t need to have everything
explained. If you do a world premiere today, you have to explain the
background in the programme and talk to the audience about the music.
That’s the only way to keep the buzz.”"
--
Federico Spano`
Zaz!
"Federico Spano`" <fsp...@tiscali.it> ha scritto nel messaggio
news:89fg36pbrsb8ijebc...@4ax.com...
> "He says modern Italy may be flawed but not hopelessly so. "Any culture
> that has enjoyed tremendous success will eventually sit on its laurels:
> look at Greece and Germany. Italy takes its past for granted, but I see
> it as an opportunity - to make audiences realise culture is alive, not a
> museum.""
ma cosa diavolo dice?
Le Germania č attualmente un paese culturalmente importantissimo
Federico Spano`
Forse non gli piace il loro contributo dal lato innovativo?
(io ne me ne ero nemmeno accorto, del riferimento alla Germania :)
--
Federico Spano`
Zaz!
>>ma cosa diavolo dice?
>>Le Germania č attualmente un paese culturalmente importantissimo
>
> Forse non gli piace il loro contributo dal lato innovativo?
forse non sa di cosa sta parlando :-)))
Giuseppe Sottotetti
> http://www.ft.com/cms/s/2/2fdee36a-5ecd-11df-af86-00144feab49a.html
>
> "I tell Pappano it can be no coincidence that his televised survey of
> Italian opera stops around 80 years ago, after the premiere of Turandot,
> Puccini’s last opera.
Il fatto è che dopo Turandot l'opera cessa di essere popolare. Un
tempo era normale che _tutti_ conoscessero l'opera e se ne intendessero
pure molto. Qui da noi nella bassa Padana gente che non aveva fatto più
della quinta elementare aveva una notevole competenza nel genere
operistico. Non è più così, l'opera è diventata ovunque un genere
"colto" e la frattura stilistica rappresentata dalla musica atonale ha
contribuito non poco a far sì che per una vasta parte del pubblico
(anche colto) non frequenti composizioni contemporanee di qualsiasi
genere).
--
Giuseppe Sottotetti
gso...@alice.it
http://SottotettiGiuseppe.ilcannocchiale.it/
http://betasom.blogspot.com/