PS Un “blogger” non è un oracolo e commette inevitabilmente errori (il minimo possibile..). Ricevo spesso “correzioni” non sempre fondamentali e non sempre precise. Così come io mi sottopongo al giudizio altrui con nome e cognome così chi vorrà avere la bontà di segnalarmi eventuali errori o imprecisioni dovrà farlo unicamente mandando un commento: a ognuno la propria responsabilità. In base alla nuova normativa chi si fosse iscritto e desidera de-iscriversi è sufficiente che mi invii un messaggio e-mail..

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Difficult to understand the controversy surrounding this edition of Walküre. A beautiful performance with a direction by the young Alexander Soddy, who despite only having had time for three rehearsals brought orchestra and singers to the very high level that has always distinguished La Scala performances. A sombre set design that well represents the human and divine tragedy of a destiny marked by a beginning marked by both human and divine betrayal. The curse of the Rhine gold stolen by Alberich, with his renunciation of love, and then in turn obtained through deception by Wotan and through violence by Fafner underlies the whole cycle and is well represented by the scenes of this edition of Walküre. Walküre is the only opera where the human plays an equally important role as the divine and all the protagonists are enveloped in an apocalyptic scenario starting from the first scene where the ash tree appears to be a withered tree in need of support. There is no trace of Hunding’s house, which then appears to be surrounded by a host of fantastic beings, but in its misogynistic roughness well represents the violence of character. Perhaps the weakest scene in the show is that of the Walkirie ride. Here, the horses are represented by elements of the corps de ballet walking on supports used in disabled people’s races and with a sort of mask representing a horse’s head. Truly a regrettable choice in a valuable context. Very beautiful is the final scene with the poignant confrontation between Wotan and Brunhilde that ends with the walkiria placed inside a colossal face symbolising Erda and Loge’s call for the fire that is to surround the place where Bunhile awaits the arrival of Siegfried. We have already mentioned Soddy’s excellent direction. As for the voices, they are all of an excellent level (Michael Volle’s as Wotan excels above all, powerful and dramatic emission) but the whole cast is of a very high level with a step below Siglinde (Elza van den Heever) rather insufficient in the first act but improving in the second. A great success with the audience and very touching at the end of the performance was the presence on stage of Superintendent Meyer, who was applauded at length by all. A superintendent who has given so much to La Scala and who will be missed, also because dark times are ahead with the new board of directors where even Barbara Berlusconi and Marcello Foa have been included. What competence they have is a mystery but we are in a period where competence is a disvalue. Mala tempora….

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PS A “blogger” is not an oracle and inevitably makes errors (the minimum possible..). I often receive “corrections” not always fundamental and not always accurate. Just as I submit myself to the judgement of others with the name and surname so those who want to have the goodness to report errors or inaccuracies will have to do so only by sending a comment: everyone has his own responsibility.

Per un elenco aggiornato di tutti i precedenti  posts di questo blog con i corrispondenti links

PS  Vorrei ringraziare tutti coloro che inseriscono commenti  ai posts utilizzando l’opzione “Lascia un commento”  (o “commenti” se ne sono già stati inseriti) prevista nella sezione sinistra (o prima del testo per schermi ridotti come i tablets) dei posts stessi affinchè tutti possano leggerli.  Il dibattito è sempre interessante per tutti…..grazie (è indispensabile lasciare nome e cognome – i commenti anonimi non saranno pubblicati)!!