My Dr. Bob Prescribes post for February 21 of this year feature Jean-Pierre Ponnelle’s superb video of Gioachino Rossini’s Barber of Seville. During the course of that post, I wrote: “Comedy requires deftness, speed, and timing, timing, and more timing. Ponnelle’s production has it all, and the opera crackles under his direction. I would like to say that I can hardly imagine an equally good opera film, but actually, I can: Ponnelle’s own version of Mozart’s The Marriage of Figaro, filmed in 1976. With an all-star cast featuring Hermann Prey, Mirella Freni, Dieterich Fischer-Dieskau, Kiri Te Kanawa, and Maria Ewing; accompanied by the Vienna Philharmonic conducted by Karl Böhm; staged and directed by Ponnelle; and produced by DG, this version of Figaro remains among the very best opera films I’ve ever seen. I will find a reason to feature the performance in a post of its own sooner than later.” Yesterday’s anniversary of the premiere of The Marriage of Figaro on May 1, 1786, is all the excuse we need to celebrate Ponnelle’s film! Jean-Pierre Ponnelle (1932-1988) The opera director and designer Jean-Pierre Ponnelle was born in Paris on February 19, 1932. He died, much too young, in Munich on […]
Continue Reading
Robert Greenberg
Historian, Composer, Pianist, Speaker, Author
Patreon – Page 4
The Easter Holiday has come and gone, but the melody lingers. The “melody” to which I specifically refer is Johann Sebastian Bach’s epic St Matthew Passion, which was first performed on Good Friday, April 11, 1727, at the St. Thomas Church (or Thomaskirche) in the Saxon city of Leipzig. Revised versions of the St Matthew were performed three more times in Bach’s lifetime, all under his direction in Leipzig: on April 15, 1729; March 30, 1736; and on March 23, 1742. Bach then further revised the passionbetween 1743 and 1746, and it is this final version that we will hear in performances and recordings today. Sebastian Bach’s St Matthew Passion is a massive, roughly three-hour-long sacred oratorio that sets to music the story surrounding Jesus’ crucifixion and resurrection as told in chapters 26 and 27 of the Gospel of Matthew. Musically, it is a full-blown religious opera presented in concert form, with a narrator, a cast of characters, two adult choirs and a separate boys’ choir, eight vocal soloists and two orchestras. It is replete with arias, recitatives, choruses, and action music of every stripe. With a libretto by Bach’s long-time collaborator Christian Frederic Henrici (known as “Picander”, 1700-1764), the […]
Continue ReadingJohannes Brahms (1833-1897) was born and raised in the cold, dank, north German city of Hamburg. (As an adult, he habitually vacationed in the warmer climes of Italy; it would seem that it took him half a lifetime to warm his frozen bones!) Physically, Brahms matured very slowly. By the age of 20 – fully grown – he was short, blonde, blue-eyed dude, almost girlish in his physical beauty, with a high, piping voice. This description might work for a 12-year-old guy, but not one that’s 20. In fact, the year Brahms turned 20, his friend Hedwig Salomon wrote in her diary: “Brahms has a thin, boyish little voice that has not yet changed, and a child’s countenance that any girl might kiss without blushing.” Brahms’ frequent (and eventually exclusive) indulgence in prostitutes dates from this time of his life, his early 20’s. Writing in 1933, Brahms’ biographer Robert Schauffler (The Unknown Brahms, Crown Pub.) delicately observed: “Thus handicapped, he naturally found trouble in getting respectable girls to take his young virility seriously; whereas the daughters of joy, besides possessing a deep knowledge of masculine psychology and being blasé to sex appeal, would take any man as seriously as they […]
Continue ReadingIt Happens Every Spring Five days ago, on March 30, 2023, something took place that hadn’t happened since 1968, 55 years ago: major league baseball’s Opening Day took place with all thirty teams starting their season on the same day. I am aware that this year, spring technically began on March 20, 2023. But let’s be real: in the United States, the true end of winter and beginning of spring – and with it the sense that verdant life and hope spring eternal – is marked by the beginning of baseball season. In the words of Terrence Mann (as played by James Earl Jones in the 1989 movie Field of Dreams): “The one constant through all the years, Ray, has been baseball. America has rolled by like an army of steamrollers. It’s been erased like a blackboard, rebuilt, and erased again. But baseball has marked the time. This field, this game: it’s a part of our past, Ray. It reminds us of all that once was good, and it could be again. Ohhhhhhhh, people will come, Ray. People will most definitely come.” Terrance Mann’s is a sentiment that would have been shared entirely by the miraculous (not too strong […]
Continue ReadingHaydn’s Masses During the course of his career, Haydn composed a total of fourteen settings of the mass. This means he set the same words to music fourteen times. One might think that in doing so, Haydn could not possibly have avoided repeating himself, but one would be wrong to think so. Haydn was as devout a Catholic as ever genuflected; he loved and believed to the core of his cockles the words of the mass. As such, he lavished extraordinarily original music on each of his masses, the composition of which was – for Haydn – an act of faith. Haydn as Believer Joseph Haydn was born into a Roman Catholic family on March 31, 1732, in the Austrian village of Rohrau. He was raised Catholic and he stayed Catholic; unlike his buddy Mozart and his cantankerous student Beethoven, Haydn’s Catholicism never “lapsed.” Haydn’s personal friend and biographer Georg August Griesinger (1769-1845) described his faith this way: “Haydn was very religiously inclined, and was loyally devoted to the faith in which he was raised. He was strongly convinced in all his heart that all human destiny is under God’s guiding hand, that God rewards good and evil, that […]
Continue Reading“What Right Had He to Write This Thing?” A happy vernal equinox to everyone and sundry! Yes, technically the first day of spring in 2023 was yesterday, March 20. But I was taught that the first day of spring is usually March 21, and so we are honoring it today with its eponymous masterwork, Igor Stravinsky’s The Rite of Spring. The Rite – composed in 1912 and premiered in Paris on May 29, 1913 – was new and different, and it inspired people to say the darndest things. For example, the following poem appeared in the Boston Herald on February 9, 1924, following a performance of The Rite in that city: “Who wrote this fiendish Rite of Spring?What right had he to write this thing,Against our helpless ears to flingIts crash, clash, cling, clang, bing, bang, bing?And then to call it Rite of Spring,The season when on joyous wingThe birds’ harmonious carols singAnd harmony’s in everything?He who could write The Rite of Spring,If I be right, by right should swing!” Igor Stravinsky composed The Rite of Spring for Serge Diaghilev’s Ballets Russes when he was thirty years old. Even if he had never written another piece of music, Stravinsky would […]
Continue ReadingThe Ultimate Hobbyist Yesterday’s Music History Monday post featured the non-musical hobbies of some of our favorite musicians, from Rod Stewart’s train set, to Courtney Love’s Liddle Kiddle dolls (made by Mattel in the late 1960s), to Arnold Schoenberg’s mania for tennis and ping pong, to Gioachino Rossini’s delight in all things food. The subject of today’s post – a person I’m calling the ultimate hobbyist – flips things around: he was someone who earned his living in a non-musical job, whose hobby was composing music. That person was Charles Edward Ives (1874-1954). Something Different: An Explanation This post is different than most Dr. Bob Prescribes posts in that at nearly 5000 words in length, it is double the length of a typical post. I’d like to think that this is a good thing – more bang for your Patreon buck – but for some of you it will simply be irksomely long. Whatever. I’m running it because aside from being an appropriate subject, it represents something of a rarity: a lecture that was originally intended for a Teaching Company/Great Courses/Wondrium course (The 30 Greatest Orchestral Works, recorded in 2011) that was removed from the course a couple of months […]
Continue ReadingItalian Opera as an Industry From the moment the first public opera house – the Teatro San Cassiano – opened in Venice in 1637, opera has been a media industry in Italy. By the early nineteenth century, virtually every Italian city and many Italian towns as well had their own opera theaters; in the case of larger cities, multiple opera houses. Like movie theaters in the first half of the twentieth century – before the advent of television – opera houses in nineteenth century Italy were not just entertainment venues but secular houses of worship, where people of virtually every class gathered to experience and cheer the musical/dramatic gospel and worship the great celebrities of their day: singers and opera composers. For nineteenth century Italian opera houses and twentieth century movie theaters alike, turnover was the key. An opera (or a movie) would run for a week, by which time those who had wanted to see it had seen it. (When I was growing up in Willingboro, NJ, we had a single theater, part of the Fox chain; new movies opened every Wednesday.) What “turnover” meant for nineteenth century Italian opera was a constant demand for new operas, which […]
Continue ReadingThe Giving of Gifts It is appropriate that today, on St. Valentine’s Day, we celebrate a piece of music given as a gift of love from a husband to his wife: Richard Wagner’s Siegfried Idyl, which was given as a birthday gift to his wife Cosima in 1870. Yesterday’s Music History Monday post marked the 140th anniversary of the death of Wagner (1813-1883) in Venice, at the age of 69. As we observed in that post, Venice was, for Wagner, a spiritual and artistic refuge, a place of uncanny physical beauty and – lacking any sort of wheeled transportation – uncanny quiet, a place where Wagner could presumably remove himself from the anxiety, hyperactivity, over-excitability, and depression that dogged his adult live. Presumably. On September 14, 1882, following the premiere run at the Bayreuth Festival (in southern Germany) of what turned out to be Wagner’s last work, Parsifal, Wagner, his family, and his entourage decamped for Venice. There they took over the entire mezzanine floor of one of Venice’s greatest palazzi: the late fifteenth-century Palazzo Vendramin-Calergi on the Grand Canal. On arriving in Venice, Wagner expressed the wish that he would die in Venice, a classic instance of “be careful […]
Continue Reading