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Extra resources for Opere complete vol.10
Although melodic inspiration does not irrigate the whole system all the time, as it does with Puccini, there is enough to give satisfaction. Adriana’s piece about acting, Maurizio’s first act solo and duet with Adriana, the Princess singing to the star of the East, all of these are – if you measured arias as you do oysters – Colchester Number Ones, that is large, juicy and with the authentic native flavour, in this case, Italian. Adriana, we love you. An unexpected alpha. Aida Egyptian tragedy Verdi The one where the four-star Egyptian general loves a slave girl named Celestial Aida, where there is a Grand March and a terminal entombment for two.
Just occasionally we skate along the frontiers of schmaltz, but never cross them. Because his music is so wonderfully easy and mellifluous – he is a sort of Rakhmaninov of the opera house – the super musical are a bit sniffy. Let them sniff. Scribe’s play is said to have an ‘intricate’ plot which usually means you can’t follow it. In cutting the play and tidying it up for the opera, Colautti did a sloppy job. Maurizio’s behaviour in Act II is strange. Why doesn’t he tell Adriana of his true relationship with the Princess?
Is she hell I’ll soon see says Adriana (jealous). No! says Maurizio it’s not Duclos: I came here to talk politics. It’s a serious matter. There is a person in the fridge true enough but it’s not Duclos but a political contact. Do you believe me? I believe you says Adriana. We must keep the poncey pair away from the fridge says he. It would be politically disastrous if the person were exposed. You must release the occupant in the dark: and the person must not be seen even by you. OK says the trusting Adriana.