Epub Riccardo Staglian

Allora: il "terzo livello" non è certamente il Padrino coi baffi e con gli occhiali neri. Non è nemmeno don Vito Ciancimino, che è importante sì, ma meno di tanti altri (eppure, chissà perché, si parla molto di più di don Vito che non di Sindona…). Non si riunisce nel retrobottega del bar del porto e nemmeno, per quanto sarebbe molto cinematografico, al circolo Lauria di Palermo. Ma allora, dove cercarlo? Intanto, possiamo dire che un "terzo livello" della mafia esiste, e che è una cosa seria. …

Riccardo Chailly is a dynamic and sometimes controversial conductor known for his devotion to contemporary music and for his attempts to modernize approaches to the traditional symphonic repertory. His many recordings for the Decca label include modern masterworks by Zemlinsky, Hindemith, and Schnittke, the symphonies of Gustav Mahler, and a number of operas.

The first monographic recording entirely dedicated to Francesco Rasi is released for the 400th anniversary of his death (30 November 1621). The first interpreter of Monteverdi’s Orfeo, an astonishing tenor and poet with a life studded with triumphs, constant travels, debts and murders, this native of Arezzo was fought over by all the courts of Italy and Europe. The pieces, on texts by Petrarch, Guarini, Chiabrera and Rasi himself – including ten world premieres – are taken from the Vaghezze di Musica (1608) and the Madrigali (1610). Tenor soloist Riccardo Pisani explores their extraordinary poetic and musical power, in a kaleidoscope of affects divided into seven ‘strings of the lyre’. He is accompanied by the Ensemble Arte Musica, directed by harpsichordist Francesco Cera. The two artists have been collaborating for years on rediscovering the Italian vocal repertory of the seventeenth century, as witnessed by the recent success of their set of Frescobaldi CDs, released on Arcana.

Donizetti's three-act tragic opera Belisario was a resounding success in its day, driven by its composer’s superlative theatrical instinct and his skilful interweaving of intense tragic narrative and emotional pathos. Belisario is betrayed by his wife Antonina, who falsely accuses him of high treason. Belisario is blinded and exiled, with proof of his innocence coming too late, and is mortally wounded during a final military victory. This production was performed and recorded without an audience in Bergamo during the Covid-19 lockdown in November 2020 – a moving performance reflecting a spirit of defiance amidst ruin and darkness.

For the problem of ‘genuine’ and ‘spurious’ works by Pergolesi has preoccupied musicologists for centuries. Of the approximately one hundred and fifty works that circulate under his name, he probably composed only thirty or so. Most of them were attributed to him posthumously, since publishers such as Bremner hoped to drum up better business thereby.

Betrayal and forgiveness are the themes of this complex opera: Amelia's betrayal of her husband, Renato (she is having an affair with Riccardo. governor of the Massachusetts Bay Colony), and the betrayal and assassination of Riccardo by a group of conspirators. The libretto is better integrated than most of Verdi's operas written before Otello and Falstaff. It was originally about an historic incident, the assassination of King Gustav III of Sweden, but Roman censors, nervous about royal assassinations, forced the absurd relocation of the opera to colonial Boston. The music is prime middle-period Verdi, less spectacular than Il Trovatore, Rigoletto or La Forza del Destino, but it is warmly, richly expressive.