Giovanni Camillo Maffei News
Italian physician, philosopher and composer
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- musician, physician, music theorist
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2024-04-26
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2020-12-18 01:01:00
Announcing "The Grey Land," a mono-opera written by Joseph C. Phillips, Jr. and recorded with his ensemble Numinous on New Amsterdam Records
[…] Music (BAM) Next Wave Festival, the Kaufman Center and Ecstatic Music Festival, pianist Lara Downes, the NextNow Fest for the Invoke String Quartet, Simone Dinnerstein and the Neighborhood Classics Concert Series for Face the Music, Dave Douglas and the Festival of New Trumpet Music (FONT), the Rhythm in the Kitchen Festival, Concrete Temple Theatre Company, St. Olaf College, University of Maryland, University of Denver, The Fieldston School, Edisa Weeks and the Delirious Dance Company, Take Dance Company, Maffei Dance Company, and others.
2019-03-17 11:47:00
Anglais - An operatic wordsmith: Luca Salsi's excellent La Scala recital
[…] the way he fizzled to nothing at the end was impressive. Cilea's "Non ti voglio amar" was wittily done, Franchetti's "Era di maggio" striking for its sense of purity and Leoncavallo's "Era d'Inverno" delivered with a cheeky twinkle in the eye. The best was saved till last. Verdi’s "Non t´accostare all´urna" had that nutty-buttery warmth that makes Salsi such a superlative Verdian, and he was on rousing form in the same composer’s setting of Andrea Maffei's "Brindisi”. Then came a succession of familiar encores. "Nemico della patria" from Andrea Chénier took us back to December 2017, when Salsi opened the season as that production’s Gérard. A Rolls-Royce rendition of "Pietà, rispetto, onore" from Verdi's Macbeth followed. Salsi is a superlative talent – get him back for an opera as soon as possible. James Imam Seen 4th March
2016-10-01 06:53:00
[…] Verdi´s greatest opera prior to the so-called popular trilogy ("La Traviata", "Rigoletto", "Il Trovatore"). Although he revised it in 1865, most of the material stayed as it was, the basic changes being the addition of Lady Macbeth´s aria "La luce langue" and a new triumphant ending. Francesco Piave´s libretto (with some additions by Andrea Maffei) is extremely faithful to Shakespeare, though some scenes are excised. And the witches´ crucial two scenes are respected, for the underworld is essential both in Shakespeare and Verdi. As the original was premièred in Florence and the revision in Paris, the latter had to have a ballet for the witches, and this is currently cut. […]
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Royal Opera House
2016-06-21 17:00:09
Crossed wires and ‘too many deaths’: The troubled genesis of Verdi’s Il trovatore
[…] what I can’t put into words. Poor Cammarano! What a loss." In Cammarano’s absence a young poet, Leone Emmanuele Bardare, was recruited to assist Verdi with necessary tweaks to the opera’s libretto. Il trovatore had its premiere at Rome’s Teatro Apollo almost exactly six months after Cammarano’s death, on 19 January 1853. The audience response was hugely enthusiastic. The composer took a cautious view of the work’s early reception, reporting to his friend Clara Maffei ten days later, ‘They say this opera is too sad, and that there are too many deaths in it. But after all, everything in life is death! What else is there?’ It is hard not to read between such lines to see Verdi’s ongoing grief over Cammarano’s death. But while Il trovatore emerged in unusual proximity to death and those deaths it stages occur at an almost brutal pace, what remains for many – […]
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