A lovely work and a lovely production. The two old ladies played by tenors even have a cat-fight!. The orchestration (German) is rather like a symphony with opera voices (Italian), except at the end where it is pared right down. Wolf-Ferrari was a genius and luckily quite a lot of his works including the opera "Sly" are on RUclips. Gervase Hughes "Composers of Operetta" 1962 spots a bitter-sweet quality. This can't be due to personal trauma unless it's his parents' nationalities at war (1914-17).
What a great pleasure to see what I assume was something of a "legendary" production; I would hope that a video of higher quality exists somewhere (this looks like the standard home-video camera stationed in the balcony). But it's great to see a film of ANY quality! This is a DIFFERENT performance from the one released on Fonit Cetra CD. Too bad this one wasn't used for the commercial CD, because the performance is tighter..especially the orchestral playing. But the brilliance of Wolf-Ferrari's art comes through splendidly; the cast is filled with fantastic actor/singers, each of whom is dynamic, yet subtle in their role. What's more, that unique bittersweet quality that belies the surface simplicity of Wolf-Ferrari's music is lovingly projected in this production.The delightful Act 2 quintet "Ve femo reverenza" (54:57) ..beautifully staged here, and the servant's dance (58:54)..for all of their charm and appeal, I find very touching and sad, in a personal way that's difficult to explain. How interesting to read of Wolf-Ferrari's own comments on the subject of comedy..."the INFINITE MELANCHOLY THAT CONSUMES ME..." ; YES! That's exactly the way the music strikes me, and I imagine the superb cast of this production felt the same way; you can sense their connection to the music throughout. I would hope that any of the cast members (from 31 years ago) who check out You-Tube might read this, and know that their wonderful performances have touched at least one listener (me) in a very deep and meaningful way. LR
Daniela Mazzuccato, soprano (Gasparina) Giusy Devinu, soprano (Lucieta) Marina Bolgan, soprano (Gnese) Cinzia De Mola, mezzo soprano (Orsola) Ugo Benelli, tenor (Dona Cate) Max René Cosotti, tenor (Pasqua Polegana) Maurizio Comencini, tenor (Zorzeto) Manrico Biscotti, baritone (Cavalier Astolfi) Ildebrando D'Arcangelo, bass (Anzoleto) Carlo Striuli, bass (Fabrizio dei Ritorti) Setting Mid 18th century. Throughout the opera the setting is the same: a small square ('campiello'). In one corner there is an inn where Astolfi (baritone role), an amiable Neapolitan gentleman, spendthrift, and ladies' man, is staying. In the houses around the inn live a number of single women, all of them in search of men or husbands. Gasparina (soprano) is a comically pretentious young woman who lives with her bookish uncle Fabrizio (baritone), also a Neapolitan as it turns out. Luçieta (soprano), is a young beauty in love with a haberdasher called Anzoleto (bass). She lives with her mother Dona Cate (tenor). Luçieta's rival is another attractive girl called Gnese (soprano) who lives with her mother Dona Pasqua (tenor). Both the mothers are comic roles played by men. Gnese is in love with a boy called Zorzeto who also lives in the square with his mother Orsola (mezzo-soprano). Act 1 Gasparina appears first, then Astolfi: they greet each other with mutual interest. Luçieta enters next, impatient because Anzoleto is late. Astolfi flirts with her as well. When Anzoleto appears peddling his haberdashery, the stranger offers to buy Luçieta a present and Anzoleto becomes jealous. Gnese appears, wanting to buy some needles or thread, and calls Anzoleto over. Luçieta in turn becomes angry. Astolfi also offers to buy something for Gnese! He is delighted to find so many beautiful women all in one place! While Anzoleto is with Gnese, Astolfi renews his interest in Luçieta and encounters her mother Dona Cate. He offers Luçieta a ring which her mother deftly intercepts, while Gnese spurns his offer to pay for her purchases. Dona Pasqua and Orsola talk about the future marriage of their children, Gnese and Zorzeto. Luçieta and Gnese appear, quarrelling again, and then Zorzeto. Anzoleto challenges Astolfi who denies having designs on Luçieta. Anzoleto decides he must marry Luçieta as soon as possible - to her delight! Gasparina appears again and this time Astolfi has a long conversation with her, trying to find out, in spite of her dialect, if she is available. She encourages him. Act 2 Luçieta, Gnese, Zorzeto and their three parents are having a loud party in the square to the annoyance of Fabrizio. Anzoleto comes in and presents his ring to Luçieta. Astolfi offers to be best man at the wedding - and to pay for dinner at the inn! He invites Gasparina and Fabrizio to join them but Fabrizio refuses. A ballet follows: waitresses, beggars, and a polenta procession. Gasparina tells Astolfi about her uncle's appalling behaviour. Just then Fabrizio appears and confronts Astolfi. He is also Neapolitan. He knows who Astolfi is, and that he is bankrupt! Astolfi in turn recognizes Fabrizio as a famous lottery winner! Fabrizio tells him that he wants to marry off Gasparina - and there will be a big dowry! The drinking party spreads onto the square but their high spirits once again turn into quarrelling before they return to the inn. Fabrizio is determined once and for all to leave the noisy square and find somewhere else to live. Astolfi concentrates his attention on Gasparina, while clutching the dinner bill in his hand and wondering how he is going to pay it. The party once again erupts into the square singing and dancing. Act 3 Fabrizio's removals are in progress. Astolfi asks him for Gasparina's hand. Fabrizio admits it may be negotiable and they go away to talk over the details. The young women enter. Luçieta will get married that evening, Gnese in two year's time. Orsola and Luçieta go off talking. Anzoleto comes in looking for Luçieta and is furious that she has gone to Orsola's house. When she emerges he slaps her. Dona Cate suggests she can find a better son-in-law and Anzoleto tries to take back his ring, but Luçieta refuses to give it to him. She knows that he hit her because he loves her. Anzoleto blames Zorzeto. It's all his fault. They leave but Gnese recounts the incident to Zorzeto, to Orsola's dismay. Zorzeto throws stones at Dona Cate's house hitting the old lady, and general pandemonium breaks out with Anzoleto and Zorzeto threatening to kill each other, and Dona Cate and Dona Pasqua insulting one another. Astolfi appears and orders them all to be quiet. They are invited to have dinner with him. He and Gasparina will be married that evening - and they will be gone in the morning! Gasparina sings a final farewell to the leading member of the cast, the city of Venice ('Bondi, Venezia cara'), which swells into a final chorus.
Halb Venezianer, halb Münchner, Ermanno Wolf Ferrari war einer der drei ltzten großen Komponisten des XX Jh.: Richard Strauss, Habs Pfitzner und Wolf Ferrari. Nach den WK2 ging schnell bergab, die Leute gingen seltener in der Oper (sie mußten ihre von Alliierten demolierten Häuser reparieren. Wie mir ein Wiener gesagt hat:"Wir lagen am Boden tot-befreit." Sogar die Amerikaner haben gestanden, daß sie "overbombed" haben.
![Ermanno Wolf-Ferrari - I Gioielli Della Madonna [Golisciani And C.Zangarini] (1911)](http://i.ytimg.com/vi/uFCl5lAl80c/mqdefault.jpg)
![Ermanno Wolf-Ferrari - I Gioielli Della Madonna [Golisciani And C.Zangarini] (1911)](/img/tr.png)
A lovely work and a lovely production. The two old ladies played by tenors even have a cat-fight!. The orchestration (German) is rather like a symphony with opera voices (Italian), except at the end where it is pared right down. Wolf-Ferrari was a genius and luckily quite a lot of his works including the opera "Sly" are on RUclips. Gervase Hughes "Composers of Operetta" 1962 spots a bitter-sweet quality. This can't be due to personal trauma unless it's his parents' nationalities at war (1914-17).
What a great pleasure to see what I assume was something of a "legendary" production; I would hope that a video of higher quality exists somewhere (this looks like the standard home-video camera stationed in the balcony). But it's great to see a film of ANY quality! This is a DIFFERENT performance from the one released on Fonit Cetra CD. Too bad this one wasn't used for the commercial CD, because the performance is tighter..especially the orchestral playing.
But the brilliance of Wolf-Ferrari's art comes through splendidly; the cast is filled with fantastic actor/singers, each of whom is dynamic, yet subtle in their role. What's more, that unique bittersweet quality that belies the surface simplicity of Wolf-Ferrari's music is lovingly projected in this production.The delightful Act 2 quintet "Ve femo reverenza" (54:57) ..beautifully staged here, and the servant's dance (58:54)..for all of their charm and appeal, I find very touching and sad, in a personal way that's difficult to explain. How interesting to read of Wolf-Ferrari's own comments on the subject of comedy..."the INFINITE MELANCHOLY THAT CONSUMES ME..." ; YES! That's exactly the way the music strikes me, and I imagine the superb cast of this production felt the same way; you can sense their connection to the music throughout. I would hope that any of the cast members (from 31 years ago) who check out You-Tube might read this, and know that their wonderful performances have touched at least one listener (me) in a very deep and meaningful way. LR
Daniela Mazzuccato, soprano (Gasparina)
Giusy Devinu, soprano (Lucieta)
Marina Bolgan, soprano (Gnese)
Cinzia De Mola, mezzo soprano (Orsola)
Ugo Benelli, tenor (Dona Cate)
Max René Cosotti, tenor (Pasqua Polegana)
Maurizio Comencini, tenor (Zorzeto)
Manrico Biscotti, baritone (Cavalier Astolfi)
Ildebrando D'Arcangelo, bass (Anzoleto)
Carlo Striuli, bass (Fabrizio dei Ritorti)
Setting
Mid 18th century. Throughout the opera the setting is the same: a small square ('campiello'). In one corner there is an inn where Astolfi (baritone role), an amiable Neapolitan gentleman, spendthrift, and ladies' man, is staying. In the houses around the inn live a number of single women, all of them in search of men or husbands. Gasparina (soprano) is a comically pretentious young woman who lives with her bookish uncle Fabrizio (baritone), also a Neapolitan as it turns out. Luçieta (soprano), is a young beauty in love with a haberdasher called Anzoleto (bass). She lives with her mother Dona Cate (tenor). Luçieta's rival is another attractive girl called Gnese (soprano) who lives with her mother Dona Pasqua (tenor). Both the mothers are comic roles played by men. Gnese is in love with a boy called Zorzeto who also lives in the square with his mother Orsola (mezzo-soprano).
Act 1
Gasparina appears first, then Astolfi: they greet each other with mutual interest. Luçieta enters next, impatient because Anzoleto is late. Astolfi flirts with her as well. When Anzoleto appears peddling his haberdashery, the stranger offers to buy Luçieta a present and Anzoleto becomes jealous. Gnese appears, wanting to buy some needles or thread, and calls Anzoleto over. Luçieta in turn becomes angry. Astolfi also offers to buy something for Gnese! He is delighted to find so many beautiful women all in one place! While Anzoleto is with Gnese, Astolfi renews his interest in Luçieta and encounters her mother Dona Cate. He offers Luçieta a ring which her mother deftly intercepts, while Gnese spurns his offer to pay for her purchases. Dona Pasqua and Orsola talk about the future marriage of their children, Gnese and Zorzeto. Luçieta and Gnese appear, quarrelling again, and then Zorzeto. Anzoleto challenges Astolfi who denies having designs on Luçieta. Anzoleto decides he must marry Luçieta as soon as possible - to her delight! Gasparina appears again and this time Astolfi has a long conversation with her, trying to find out, in spite of her dialect, if she is available. She encourages him.
Act 2
Luçieta, Gnese, Zorzeto and their three parents are having a loud party in the square to the annoyance of Fabrizio. Anzoleto comes in and presents his ring to Luçieta. Astolfi offers to be best man at the wedding - and to pay for dinner at the inn! He invites Gasparina and Fabrizio to join them but Fabrizio refuses. A ballet follows: waitresses, beggars, and a polenta procession. Gasparina tells Astolfi about her uncle's appalling behaviour. Just then Fabrizio appears and confronts Astolfi. He is also Neapolitan. He knows who Astolfi is, and that he is bankrupt! Astolfi in turn recognizes Fabrizio as a famous lottery winner! Fabrizio tells him that he wants to marry off Gasparina - and there will be a big dowry! The drinking party spreads onto the square but their high spirits once again turn into quarrelling before they return to the inn. Fabrizio is determined once and for all to leave the noisy square and find somewhere else to live. Astolfi concentrates his attention on Gasparina, while clutching the dinner bill in his hand and wondering how he is going to pay it. The party once again erupts into the square singing and dancing.
Act 3
Fabrizio's removals are in progress. Astolfi asks him for Gasparina's hand. Fabrizio admits it may be negotiable and they go away to talk over the details. The young women enter. Luçieta will get married that evening, Gnese in two year's time. Orsola and Luçieta go off talking. Anzoleto comes in looking for Luçieta and is furious that she has gone to Orsola's house. When she emerges he slaps her. Dona Cate suggests she can find a better son-in-law and Anzoleto tries to take back his ring, but Luçieta refuses to give it to him. She knows that he hit her because he loves her. Anzoleto blames Zorzeto. It's all his fault. They leave but Gnese recounts the incident to Zorzeto, to Orsola's dismay. Zorzeto throws stones at Dona Cate's house hitting the old lady, and general pandemonium breaks out with Anzoleto and Zorzeto threatening to kill each other, and Dona Cate and Dona Pasqua insulting one another. Astolfi appears and orders them all to be quiet. They are invited to have dinner with him. He and Gasparina will be married that evening - and they will be gone in the morning! Gasparina sings a final farewell to the leading member of the cast, the city of Venice ('Bondi, Venezia cara'), which swells into a final chorus.
Halb Venezianer, halb Münchner, Ermanno Wolf Ferrari war einer der drei ltzten großen Komponisten des XX Jh.: Richard Strauss, Habs Pfitzner und Wolf Ferrari. Nach den WK2 ging schnell bergab, die Leute gingen seltener in der Oper (sie mußten ihre von Alliierten demolierten Häuser reparieren. Wie mir ein Wiener gesagt hat:"Wir lagen am Boden tot-befreit." Sogar die Amerikaner haben gestanden, daß sie "overbombed" haben.
Posso avere una conferma? Il cavaliere parla toscano?
Il cavaliere (and il zio Fabrizio) are the only 2 characters who speak Italian. LR
1:15:39