Etiquette

While visiting the websites of various opera theatres to check how they have been organsing to face COVID-19 I discovered a very interesting page, under the title “Etiquette”. The opera theatre that decided to devote one link to this theme, under a word that, I suspect, many in the younger generations would not understand, is the Bolshoi. Not suprisingly I would say, as Russians seem to value traditions highly.

I click on the link and the page shows another captivating title: “Dress Code”. This is, indeed, a fascinating and important question: how do you dress at the opera? I grew up with the idea that opera was a show for the few, not easily accessible, which is staged in magnificent old theatres with a clear flair of nobilty. Hence, you needed to be dressed appropriately, with elegance and style. An opera theatre is a serious place, unlike, for example, cabaret or underground theatres, so it would not be the venue where you dress in your most provocative outfit, as stylish and trendy as it might be.

When I started to go to opera theatres I quickly realised things were much less formal than I had imagined while watching opera on the sofa of the living room of my grandmother. It is not uncommon to see people in jeans. Still, the rate of elegance seems to be much higher than at the cinema for example. So is there still a dress code to attend an opera?

The Bolshoi obviously has one, although it is clear from the very first lines that they give suggestions, do not impose any obligation. Already the fact that they have a page devoted to the issue, unlike most other theatres, indicates that they have something to say. They start by referring to how it was in the past – women in their best outfit and men with black tie – and then recognise that this could be close to impossible with the hectic life we all have nowadays, and the very practical consideration that more often than not we go to the theatre at the end of a long working day. Here comes the statement: “you will get away with a quite democratic dress form”. With some caveats: men in shorts are definetely not allowed in the theatre, and for women, Bolshoi kindly expresses the view that “women should keep to a decent dress style”. After that, they add a sentence that I find simply spectacular: “bearing in mind that they may well be sitting next to people in full evening dress”. I will attempt a short summary of all this: dress as you like (no beachwear though), but mind you, people do dress up at the opera, and a sloppy outfit might make you feel out of place. Bolshoi’s preference is definitely for evening gowns and black ties.

My personal point of view is that opera is one of the only two occasions when you can still dress up, the other being weddings. That special dress with a long gown in taffeta that you surely cannot wear at the yearly office party, the glamorous outfit you bought because you could not resist when you saw it in the shop and then you never dared wear because you would attract weird looks, the chic blouse with a touch of extravaganza that would make you feel embarassed if you were to wear it at the pub – just go for it, at the opera you can wear it wih full confidence. Nothing is too much at the opera.

I copy below the link to the page on etiquette from the website of the Bolshoi theatre. I absolutely loved it. The topic deserves some more posts I think, much as another, related topic – good and bad behaviour at the opera.

https://www.bolshoi.ru/en/visit/sbory/

Opera at the time of COVID: back to theatre

September is the month when most opera houses start their new yearly season, so I think it is time to have a look at where they are in this very special year. After these long months of pandemic, with its sad row of victims, and lockdowns and travel restrictions, we all long for some normal life, and the simple fact of being able to go to a theatre sounds like a victory like no other. But are opera theatres able to start the season, as the pandemic is ravaging again Europe and many other countries?

A rapid check on the websites of some opera theatres quickly reveals a mixed picture- Of course it all depends on the current COVID situation in each country. The Royal Opera House announced yesterday that it is ready to readmit the public in the auditorium, after having adpated the seating plan to ensure social distancing. At the same time it continues its rich online and streaming programme. At the beginning of September Opéra de Paris announced the cancellation of several operas and concerts in view of the uncertainties linked to the pandemic, and the consequent difficulties to organize rehearsals and admit the public into the theatres. Still, Opéra Bastille is planned to reopen the doors to the public on 23 November. Other theatres in France – Bordeaux for example – seem to welcome the public.

The situation seems a bit better in Belgium, where Opéra Royale de Wallonie in Liege has alrady started its season some days ago, with a Bohème starring Angela Gheorghiu in the role of Mimì. Apparently all ticket holders have received new tickets according to a seating plan aiming at ensuring social distancing, leaving one empty seat between two persons. Entry and exit in the theatre is organised as to avoid crowding in corridors, the bar is closed, the public must wear a mask throughout the performance and keep at any time a certain distance from other people. The composition of the orchestra is also reduced so that musicians too can respect social distancing, and the same happens on the stage with a clever direction. Opéra Royale de Wallonie celebrates this year its 200th anniversary and it is not surprising that it has done its best to go on stage. Félicitations.

Again, in Belgium, La Monnaie seems to be ready to start the season with the public but its first opera, The Time of Our Singing, has been postponed without further details. Le Grand Theatre de Geneva has also opened its season in September, with La Cenerentola. It was also obliged to adopt the necessary mesures to protect the health of the public and the staff, along similar lines as Opéra de Wallonie.

In Venice, La Fenice seems also to be ready to go ahead with its autumn season, with the usual precautions including the measurement of the temperature of all ticket-holders at the entrance of the theatre. The information sheet published on their websites also invites would-be spectators coming from abroad to check whether there are restrictions in place imposed by the Italian authorities for travellers from their countries. La Fenice is just following the rules applicable in Italy and it is clear that it is difficult to find the right balance between preventive measures and getting back to a normal life; after all, a risk can only be mitigated.

Finally let’s go east, to Russia, that has one of the srongest operatic traditions in Europe. Bolshoi seems to be working as usual, with no social distancing in the seating plan and no further prevention measures. On the contrary, in St Petersburg the Mariinsky theatre annouces a seating plan reduced by a half with a “chessboard” seating system. This evening, The Fliegende Hollander.

Will these measures work? Will theatres be able to continue with their operatic season, with a much needed influx of revenues? We will see in the coming months. For now, a recent news about the Teatro Real in Madrid gives an idea of the attitude of the public in these pandemic times: the theatre had to cancel the performance of Un Ballo in Maschera because of the protests of the public for the lack of social distancing:

https://www.theguardian.com/world/video/2020/sep/21/madrids-teatro-real-cancels-opera-after-social-distancing-protests-video






Rossini & Stendhal: Tancredi – 5

After a very long summer break – I spent more time in quarantine than in actual holidays, but well, this is a special year – it is time to go back to Tancredi, with the guidance of Stendhal, and finish this series of articles. I watched the opera to the very end, in one go, and I read the whole chapter that Stendhal has devoted to Tancredi. I enjoyed the experiment a lot, and I don’t think I would have found Tancredi so interesting were it not for the thought-provoking remarks of Stendhal.

I loved the end of the first act, when Amenaide is believed to have betrayed and is arrested; passions run high, the five main characters are all on the stage and sing the emotions stirred in each of them by the drama that is unfolding with an intensity that eventually got my eyes fixed on the screen. Probably the very best moment of the whole of the opera, in my modest opinion. However Stendhal does not spend more than a couple of lines on it.

I have to confess that I found the second act rather boring, and Stendhal did not help to raise my interest. He states that he could write comments and remarks on every piece of the opera, but refrains from actually doing it. He claims he could write twenty lines on every aria or duet of Tancredi, but he also underlines that such remarks would make sense only if accompanied at the piano, with the actual music, so as to explain what we hear and increase the strength of the emotions. Without the music, such remarks could just result in boredom. Indeed this might expose the reason why I found the second act so boring: because I was left on my own and I could not appreciate what I was listening to, its strongest points, its novelty. So yes, I would love to be in a room with Stendhal and a piano and listen to his views and observations on every piece of Tancredi, but I have strong doubts I can find such guidance nowadays.

I doubt Tancredi will feature among my favourite operas but still I have to thank Stendhal for stirring my curiosity. I will surely revert to Stendhal’s magnificent book when I watch the next opera by Rossini.

#Stayathome with opera: Wiener Staatsoper, Bayerische Staatsoper, Teatro Regio di Parma, La Scala

Too much offer. As I continue to explore what major opera theatres around the world are proposing during the forced suspension of performances due to the COVID19 pandemic, I realise I could probably stay at home for months and still get every day a different opera, a different production to watch.

Wiener Staatsoper is broadcasting every evening a different title, performances of this season but also of past seasons. I have been to the opera in Vienna some decades ago, I remember queuing in the morning to get a ticket for the evening performance of Die Walkueren. I confess after the second act I could not bear it anymore and escaped for a beer at the charming Cafe Museum. I will make amend and watch an opera by the Wiener Staatsoper. They have a monthly programm and here is the address of their streaming platform: www.staatsoperlive.com

Travelling virtually on my operatic map, but not too far from Vienna, let’s move to Munich. The Bayerische Staatsoper has a programme of video on demand, with operas being availble online for fourteen days. They also offer a Monday concert with a programme of Lied, solo instrumentalists, chamber music and dance. They appeal to donations to support the independent music scene. Contrary to other opera theatres they do not ask support for their own survival in these difficult times.

Moving south, to Italy. The Teatro Regio di Parma offers “il Regio a casa tua”, operas on demand on the Italian web platform Raiplay, connected to Italian State TV Rai. Great. The first title in the list is Macbeth, I click to start the video and a message informs me that the streaming is available in Italy only as Rai does not own the rights to stream the video abroad. This is not very foreign- friendly I am afraid. But on the positive side, I notice that the Festival Verdi, for the time being, is still on (September – October) – it is on my operatic to-do-list, although I don’t know in which year. Teatro Regio di Parma also offers a Festival Verdi Home Streaming which includes 11 operas from previous editions of the Festival. The operas are availble for some weeks. even months, and a simple click from the website of Regio is enough to launch the video. Right now I am listening to I Due Foscari, from Festival Verdi 2019 – an opera that I find sublime.

Checking the website of La Scala is, obviously, a must. The theatre makes available at least one performance per day on the same web platform used by Regio di Parma, RaiPlay, for some weeks. Again, RaiPlay is not accessible from outside Italy, hence no chance to watch any of their breath taking productions. The information is in Italian only. I decide to check their Youtube channel to see what is available there. Plenty of interesting material, interiews, trailers, behind-the scenes videos, but not a full opera. Obviously La Scala is so famous and has such a reputation that they do not feel the need to appeal to international opera lovers around the world. La Scala is La Scala, period. And yet.

Two weeks ago they published on their YouTube channel a lovely video of an extract of Act I of Simon Boccanegra, performed by 92 artists from their homes around the world. “Plebe, patrizi, popolo” is a beautiful piece, an hymn to unity of the Italian people faced with tiranny, and a call to solidarity and resilience in the crisis affecting so many people around the world. I insert the link below.

https://www.youtube.com/watch?v=k-LxQXQ4Os4


Rossini&Stendhal: Tancredi – 4

Upon the entry of Tancredi on stage, Stendhal makes several interesting remarks about the relation between the singing and the music. For ordinary spectators without a specific, previous music or opera knowledge, some questions rise spontaneously: what is the role of the music in respect of the singing? What is more important? That orchestra that is playing so loudly, full steam, and covering the voices of the singers – especially sopranos – is it actually doing a good job? Stendhal’s comments around Tancredi help cast some light on these issues.

 Tancredi lands on the beach, and starts singing“O patria, dolce e ingrata patria!” (O Homeland! Sweet and ungrateful homeland! ). Then he remains silent, and the music speaks on his behalf. Here comes the concept that Stendhal describes so effectively: it is not about letting the instruments expressing the feelings of the character, but rather to have them express that part of his or her feelings that the character would not be able to tell us. While Tancredi is silent, deeply entrenched in the emotion of being back to his native city after years of exile, the music reveals to us other aspects of his soul, feelings that he would not dare to confess even to himself.Here comes one of Stendhal’s cutting remarks to the German music that in his view goes too far in telling us also what we should learn directly from the character on stage.

Other thoughtful remarks. Rossini is using music in this opera the same way that Walter Scott is using description in his novels: Rossini prepares with music the emotional background for his arias, he prepares us to what we are going to hear from the characters. Stendhal argues that in Tancredi Rossini drew a fine line between music and singing, that he was not always able to replicate in later operas. In Gazza Ladra, for example, one would like the orchestra to be less present and to leave more space for the singing. In Tancredi, the music makes “a respectful conversation with the singing” – a happy description of how the two should work to support each other and not go each on their own way.

Stendhal also gives a stimulating perspective into the recitativo – that is, according to Wikipedia, when the singer adopts the rhythm and delivery of ordinary speech – he sounds more like he is speaking rather than singing. I have always found recitativi rather boring and I can’t wait for the music to start again, but they are used to advance the plot. I also think that, if you don’t understand the language, you don’t have much chance to make sense of these spoken bits nor to understand the story, hence reading the libretto becomes paramount in an opera with a lot of recitativi. Stendhal seems to imply that recitativi are a harder test for singers that the actual singing: many singers, he claims, can magnificently sing an aria, but to communicate the emotions and the full flavor of a recitativo, one singer needs something more, a soul. Maybe next time I listen to a recitativo I will try to pay more attention.

Stendhal is obviously delighted by Tancredi’s aria “Tu che accendi”, and describes it like the aria that was most often sung everywhere in the world, an aria that everyone has heard, everyone knows in Europe. We read his assessment with the interest of the historian, as it is difficult to imagine how many people, in 2020, would know that aria or be able to sing it (apart from the professionals of opera).It is a different world. After Rossini, Italy and Italians got Verdi and Puccini, and the operatic pieces that everybody knows are the famous choir of Nabucco, the lovely “Libiamo ne’ lieti calici” (both pieces are regularly performed at the end of the New Year’s concert in Venice), “All’alba vincerò” from Turandot, and maybe a couple more. “Tu che accendi” is only for niche experts.

To finish with,at least for today, here is Cecilia Bartoli singing “Tu che accendi” – which in Venice was called “aria dei risi” as the legend goes that Rossini wrote it in the time needed for cooking rice.

https://www.youtube.com/watch?v=HpgAvhO5dOw



#Stayathome with opera: Fenice, ROH, La Monnaie, the Met

Another passtime for these days of lockdown: to check what is available online while we cannot go to opera theatres. I don’t like that much to watch operas on videos or online, I miss too much the emotions, the ups and downs, the surprises of a live performance. But in these circumstances, as the French say, il faut faire avec, we need to go with what we can get. My very first assessment is there is probably too much, I could spend entire weeks in front of my computer or TV to watch fantastic productions in opera theatres I have never been to.

Many opera theatres around the world seem to have adjusted to the COVID19 constraints and are offering an online programme, often with catchy titles. Several of them regularly offer broadcast of their operas, often after it has gone on stage. But in these exceptional circumstances they all seem to have increased their proposals, with more operas available for viewing. Congratulations to all of them, and my sincere thanks. I must also add that opera theatres are probably going through hard times right now, due to the suspension of their programme and the related lack of income. Most of them offer the reimboursement of tickets, and it is easy to understand how this could quickly result in financial problems. There are two ways of supporting them: making a donation and renouncing to the reimboursement of tickets, if we have one. I am not going to claim any reimboursement this year.

Just to give some examples. I’ll start with La Fenice, a theatre that is very close to my heart. It has launched an initiative under the title “Io resto a casa” – I stay at home – and the catchy slogan “stay at home, it is our turn to come to you” – whereby they offer free access to their productions on a dedicated YouTube chanell. However, the last title was scheduled for yesterday, but maybe they just need to further update their website as the lockdown in the region is prolonged.

The Royal Opera House also offers online broadcast of their operas, one opera being available for two or three weeks. Currently they propose Cosi Fan Tutte, but they do not seem to publish a calendar of what will come next, or if they do it is not immediately accessible from their opening page. I don’t really feel like watching Mozart right now.

La Monnaie in Brussels, another theatre where I have been oh so often in the last years, offers a virtual season (La saison virtuelle) until May 17, with the main titles from their 2019/2020 programme. There are a couple of tempting titles such as Les Contes d’Hoffman et Les Dialogues des Carmelites, I have never seen any of the two, but the staging in La Monnaie can be peculiar. I will keep them as a second choice if I don’t find anything more interesting.

The Metropolitan Opera offers free Nightly Opera Streams, with a weekly programme, one opera per evening. In addition it also proposes a lot of resources and articles that provide an introduction to the operas and the opportunity to prepare in advance. They have also launched an emergency campaign eliciting a contribution to support them in these difficult times. On 25 April they are going to present their first ever virtual At Home Gala, with 40 artists featuring from their homes. Worth watching.

Rossini&Stendhal: Tancredi – 3

After the ouverture, Act I starts with a chorus of Syracusan knights which definetely does not encounter the approval of Stendhal. He defines the chours as “pleasant”, and immediately adds that this is not the appropriate adjective to describe a chorus of knights of the Middle Ages. Here he draws the first comparison with Walter Scott’s description of Middle Ages warriors in Ivanohe, the brutality and violence of those barbarians in their iron armour, and clearly states that Rossini’s knights are out of place in their sweet singing. “Peace, honor, faith, love”: this is not the Middle Ages, argues Stendhal. He reiterates his argument about the lack of strength in Rossini’s music. I love the way he puts it, in his witty, outspoken style: the music is nice BUT it should be different!

This chours is not what Stendhal was expecting to hear; however a comparison with a novel written six years later than Tancredi does not render justice to Rossini. When he wrote Rossini’s biography in 1824, Stendhal was probably already tuned towards Romanticism that was sweeping Europe in waves. But the start of Romanticism in Italy is traditionally dated to 1816, and the young Rossini, in 1813, was a son of his time.

It gets better, in Stendhal’s words, when Amenaide, the unhappy heroin of the opera, enters on to the stage. Elegance is the word used to describe the singing of the young medieval princess. And yet, in the following paragraph, Stendhal does it again and tells us that the Amenaide’s song should be different: she does not express enough sadness when thinking of her far-away, exiled lover. The fioritura she sings is too full of grace and is out of context, this time what is lacking is not strength but rather passion. Stendhal puts this down to the fact that Rossini is too young to feel this particular shade of emotion, to be able to describe this type of melancholic tenderness. Or maybe, he concludes, Rossini did not want to compose sad music for fear of being boring. These detailed remarks give a flavour, I think, of how deeply Stendhal knew this opera. I listen to Amenaide’s first song in the performance of the Spanish soprano Mariola Cantarero, in the Trieste production, and I find her a bit rigid. I decide to make a comparison and I switch to another YouTube Tancredi video, where Amenaide is played bya lovely Katia Ricciarelli, and the whole piece sounds much nicer. Ricciarelli seems to be much more in tune with the role.

Stendhal turns to th “famous entry of Tancredi” on the stage. He rightly points out that it is difficult to render the importance of this moment without getting ridiculous, and argues that the arrival of Tancredi’s ship should not be properly shown but rather just suggested in the background. Indeed, reading the description of the scene in the libretto and the number of elements that should be there – a parc, a palace with walls, a beach with the sea in the distance, and then “lanes, statues, gates” – the challenge appears daunting even for the most imaginative, creative set designer. In the staging I am watching, by Teatro dell’Opera in Trieste, Tancredi arrives on a much elaborated, vagely baroque golden ship, and this does not add any solemnity to the scene but makes the whole rather kitsch. I would say that Stendhal’s suggestion to leave the actual arrival to the imagination is a good one.

On the entry of Tancredi Stendhal makes some interesting remarks on the role of music in opera, but that deserves another post.

#Stayathome with opera: aria by Opéra de Paris

With this terrible Covid-19 pandemic, I bet most of the world is now in self-isolation. In these circumstances, the web proves to be an endless resource for passtimes, and for us opera-lovers it offers great opportunities to continue to nurture our passion from our sofas. I have started to have a look around to see what various opera theatres are offering in this weird time of our lives, and there is so much that one could spend the whole day watching five stars opera productions or learning more abou the operatic world.

I start with the new app launched by Opéra de Paris, aria. It is online since a few days, and they really chose the right moment to give it a go as we all are stranded at home, with so much time at our disposal. It works on mobiles and tablets, and for the time being it appears to be only in French; I can understand the language but I do hope they will provide also an English version, because it is interesting, entertaining and well done.

The purpose is to offer the opportunity to learn about opera and its world – and personally, I am totally in favour of such initiatives – through a series of videos and interactive content. I watched a couple of units, the first one about the different operatic voices, and the second one more in detail about the different types of soprano voices. The videos are short and this is an asset, it makes it easier to spare ten minutes to watch them. There are other, longer videos that should provide introductions to certain operas – I have seen the introduction to Il Barbiere di Siviglia is already online, it will be my next video. I often mentioned in this blog how little material is available to learn about opera, and aria could really become a point of reference for newcomers. Merci beaucoup, Opéra de Paris.

https://aria.operadeparis.fr/fr


Rossini&Stendhal: Tancredi – 2

Rossini composed Tancredi when he was barely twenty years old, in less than three months according to some accounts. Stendhal notes that Tancredi was composed “during the Carnival of 1813”, so in a matter of weeks, while he was also working on other scores. Whatever the right timing may be, this fact alone bears the marks of the genius. Stendhal states: “one can only imagine the success encountered by this heavenly opera in Venice, the city that best appreciates the beauty of singing”. The whole city, in his account, was raptured into a Tancredi’s folly, with everybody, from the boatsmen to the nobles, singing the most famous arias.

A quick scene-setter. The story takes place in Syracuse, Sicily, in the middle ages. Syracuse is at war with the Sarazins/Bysanzium, and at the same time is ravaged by a feud of two families, Argirio and Orbazzano. There is the young beauty, Amenaide, daughter of the king Argirio, who wants her to marry the rival Orbazzano so as to put an end to the feud. But she is in love with Tancredi who is in exile in Bysanzium. And yes, the king of the Sarazins also wants her. Twists and turns, a letter which falls into the wrong ends and puts the beauty in dire straits, but luckily the hero comes back home: Tancredi kills his rival Orbazzano, defeats the Sarazins, and can eventually marry Amenaide. All this does not sound very original nor interesting, except that it confirms that in the operatic world writing letters is a highly dangerous activity.

The opera starts with an ouverture – a symphony, as it is now called on Youtube. Stendhal states that the first notes are full of grace and nobleness, “but in my view the genius starts only with the allegro” which has so much “novelty and courage that it conquered all hearts in Venice since the premiere”. I am watching the video and wonder whether I will recognise when the allegro starts – an ouverture is usually not like a real symphony where different parts are clearly separated. But after the first minutes the pace of the music changes, and yes, that’s the allegro, it is easy. I am too ignorant to recognise why it has novelty and courage but I fully trust Stendhal. It is, in any case, very enjoyable music and I wonder whether I will add this ouverture to my classic playlist on Amazon Music.

Here, Stendhal makes the first of a series of more general remarks on Rossini’s talent. The key of his genius, he says, lays in his elegance, not strenght. Strength belongs to some of his predecessors like Cimarosa or Haydin. Rossini, in synch with his century, replaced strength with elegance, and here Stendhal mentions Canova and suggests that Rossini unknowingly followed the steps of the Venetian scupltor (who was Rossini’s and Stendhal’s contemporary).

I had never thought about it but actually “grace” and “elegance” are terms that look perfectly appropriate both for Rossini’s music and Canova’s scupltures; while words like “dramatic” or “raw passion” are not. Stendhal writes that Rossini lacks “the pathetic note”. Let’s put the two great artists side by side: Amore e Psiche by Canova, and the ouverture of Tancredi:

This enchanting masterpiece is at Ermitage Museum, St Petersbourg. Picture courtesy of Sailko from Wikimedia Commons

and here, the ouverture, directed by Carlo Maria Giulini:

https://www.youtube.com/watch?v=WXVyot6ynYg

Discovering Rossini with Stendhal: Tancredi – 1

At the time of the coronavirus outbreak, going to an opera theatre is maybe not the wisest of actions. Fortunately, Youtube offers plenty of material to compensate for the temporary discomfort of self-imposed quarantine, and as I am still under the spell of Stendhal’s fascinating book (The Life of Rossini, see my previous post) I decided to devote a couple of evenings watching a masterpiece by Rossini under the guidance of Stendhal. After all, a SmartTv, the sofa of my living room and a glass of wine are excellent alternatives to a bustling theatre, at least for a while. My choice goes to an opera that is rarely represented: Tancredi.

Stendhal dedicates a whole chapter to Tancredi, one of the first operas composed by Rossini and, in Stendhal’s opinion, one of his most delightful masterpieces. I read the chapter and I realise that Stendhal is taking for granted a knowledge of the opera and of its history that was probably common at his time. I have a pale memory of a hero called Tancredi, and his name evokes Sicily in the Middle Age, and I also seem to recall, from my school days, that Tancredi is one of the main characters of the Jerusalem Delivered (or The Liberation of Jerusalem, 1575) by the Italian poet Torquato Tasso. So, before turning on the TV, I make a search on Wikipedia for some basic background.

I learn some key facts that help me make sense of Stendhal’s chapter, for example I discover that the part of Tancredi – a man – is written for a contralto voice. I also learn that the libretto is based on a drama by Voltaire, Tancrède, which has nothing to do with the Tancredi by Tasso. Tancrede had been written in 1760, while Tancredi was composed by Rossini in 1813.

In the chapter on Tancredi, Stendhal often refers to Walter Scott’s Ivanohe, but this novel does not seem to have been a source for Rossini, hence some more enquiries are necessary to understand why Stendhal considered Scott’s book so important. I remember a rather complex story in Scott’s historical novel, and I cannot really connect its details to Rossini’s Tancredi. Still they have in common the crusades in the background, the hero, and romance of course. I imagine that Stendhal considered Scott’s novel so important because of the huge impression it made across Europe, a milestone for historical, romantic novels. Ivanhoe was published in 1819 and Stendhal wrote The Life of Rossini in 1824. Rossini also must have been deeply impressed by Scott’s hero, as he composed an opera “Ivanhoe”, on a French libretto, in 1826.

I turn to Youtube, it is time now to choose a video. I find a staging of Teatro Lirico Giuseppe Verdi di Trieste, dating back to the opera season 2002/2003, with Daniela Barcellona in the title role. Another edition is much older, 1981, and features Marilyn Horne in the role of Tancredi. Horne contributed greatly to bringing back this opera on stage in the 1980ies, and it would surely be worth to listen to her. I will probably watch the more recent version, but comparing Barcellona with Horne in the most famous arias.

Last choice, the wine. I go for a French red wine, Peyre La Gazette, Syrah Grenache Carignan, 2016, by the former director of Gault Millau. Red velvet.

Time to start.


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