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FULL LE BRACI (Tutino) Prima della prima Documentary Martina Franca 2015 Angela Nisi, Romina Tomasoni, Roberto Scandiuzzi

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Video Recording from: RAIPlay     FULL VIDEO     Qries

Information on the Performance
Information about the Recording
  • Published by: RAI  
  • Date Published: 2019  
  • Format: Broadcast
  • Quality Video: 4 Audio:4
  • Subtitles: yessubs, itsubs  
  • Video Recording from: RAIPlay     FULL VIDEO

Quote from

In a decadent Viennese palace, old Henrik, a former officer in the Austrian army, looked after by the elderly housekeeper Nini, awaits the arrival after forty-one years of absence of Konrad, a friend of the past, almost a brother, who escaped to the Caribbean after a hunting trip in which he had tried to kill his friend to escape, therefore, with his wife Kristina, who later died early of illness. In this expectation the memories are confused with the present and Kristina appears to her old husband still full of life while she is disputed between the two young men. With Konrad’s arrival all the mysteries enclosed within the building are gradually clarified, from the reasons for the hatred nourished towards his brotherly companion, to what really happened during the fateful morning hunt, up to the baffling truth .

The one-act opera presents itself with a strong dramaturgical coherence and with music with a great evocative impact. Marco Tutino, who also personally oversaw the reduction of Sándor Márai’s novel to libretto, is the one among contemporary composers who opts for audience involvement and communication. In a nutshell, he composes “music” and does not write algebraic operations on the stave made to please himself and a small number of employees, often in guilty bad faith. The music is evocative, the quotes are stated and exhibited; it follows the course of an Italian school which has not given up, which above all is not ashamed of it and which seemed extinct after the pre-eminent examples of Giancarlo Menotti and Nino Rota. It is not just a conversation song, which is very effective: Tutino consciously exploits the more traditional formulas, the closed pieces: real arias and, in the finale, even a concertato of an almost Mozartian style. The whole score has a perfect cohesion with the sung text, even the pressing waltzes, which peek out from it, have something macabre that heralds the final cadaverous.

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