Lamore segreto (Italian Edition)
At the beginning of his tenure as manager, Gatti-Casazza had to fight against the many stereotypes that circulated about Italians. Many American music critics would have preferred to have a German manager, who at the time was identified to be Andreas Dippel. Ironically, however, this offer was made to Gatti-Casazza by Otto Kahn, an arts patron of German origins from Mannheim , who was also chairman of the committee that financed the Met and a sympathizer of Italian opera. At the time, what was the nature of the relationship between the people who lived in American Little Italies and Italian opera?
Sadly, for many decades, Italian immigrants and their descendants were the targets of prejudice or even open hostility. The documents show how the Italians living in New York, Boston, and Philadelphia just to name a few used opera as a means to legitimize themselves in the eyes of the Americans.
In the process of creating their ethnic identity, the Italians and later the Italian Americans used opera in three ways. First, they attended live performances to show their support for the Italian singers and conductors.
The articles in the American and Italian press frequently discussed the presence of our fellow countrymen in the family circle area. Second, they collectively listened to records in the homes of those few who, in the Little Italies at the beginning of the century, could afford to purchase a gramophone or other means of sound reproduction. Finally, they brought the Italian singers and conductors into the restaurants and cafes of Little Italies, as if to make them feel protected.
For the second point I found countless pieces of evidence in the autobiographies and diaries I read, and for the third, I found many cartoons in both the Italian and American press. Enrico Caruso was probably the first who, thanks to his success, gave the Italians of America the opportunity to fight back against the discrimination they were experiencing….
For Italian immigrants to the United States, the importance of Caruso went beyond the strictly musical sphere.
Amour: Jarry, L'amore assoluto
The tenor was one of the emblems of Italian culture and embodied the success, fame, and social recognition that our fellow countrymen aspired to. Caruso was obviously proud of this role, and the many biographies written about him show how he loved to spend time with his compatriots. If, for the Italians in America, attending an Italian opera performance was a way to build a sense of community and strengthen ties with the motherland, being there when Caruso performed made the event even more special.
Finally, it is worth remembering how Caruso, and other Italian figures connected to the opera world, helped the American upper and middle classes, especially in the northeast area, to reconsider the Italian migration phenomenon in a more positive light. Is there a particular story, which not everyone knows, that you have had the opportunity to discover during your research, and one that you are pleased to share with our readers? Wolf-Ferrari had a German father and an Italian mother, and he trained musically in both countries.
Gatti-Casazza thought that, thanks to this double heritage, Wolf-Ferrari was the ideal composer to introduce to the American audience and music critics. In doing so, the general manager could have pursued his project of increasing the number of Italian composers whose works were staged at the Met, without upsetting the sensitivity of those critics who were against this plan.
His visit to the United States in , followed in great detail by the American and Italian-speaking press, further strengthened his reputation. During this visit, Wolf-Ferrari was offered countless professional opportunities that he did not want to seize, perhaps in fear of missing Italy.
Wolf-Ferrari, a composer who until a few years earlier had been interviewed by the most important American newspapers and music magazines, and whose works were regularly staged by the major opera houses in the United States, was relegated to oblivion. You have also investigated the interactions between some of the Italian musicians who worked in the United States and the fascist regime, correct?
Indeed, in the course of my research I have found that a number of singers and conductors who worked for the Met, and Gatti-Casazza himself, interacted with representatives of the fascist regime. In Musica e musicisti nel ventennio fascista , published in , Fiamma Nicolodi brought to light hundreds of documents on the relationships between Italian musicians and Mussolini. Sarah began writing her own versions of English, Russian and French literature on an old typewriter when she was thirteen years old, has a degree in Letters and, as an author, she is the Writer in the City of Love.
Sarah adores writing romance, pen in hand and heart afire, while watching the wind ruffling the treetops, surrounded by people in the lovelorn places brought to life by Shakespeare. She has also written historical and contemporary novels in Italian. Privacy Read. E-books: scroll the collections.
PING Prendi! Nessuna ricchezza! Noi ti farem fuggir Noi siam perduti! I ferri aguzzi! La morte a sorso a sorso! Non farci morire!
Inutili minacce! Crollasse il mondo, voglio Turandot! Morrai prima di noi! Tu maledetto! PING Sono il vecchio e la giovane che iersera parlavano con te! PING Conoscono il segreto!
- Aria details:.
- We The Italians | Davide Ceriani (Musicologist).
- The Mystery Cruise (The Boxcar Children Mysteries);
- Love (Italian translation);
- Indietro (English translation).
Dove li avete colti? Turandot appare sul limite del padiglione.
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Tutti si prosternano a terra. PING Principessa divina! E abbiamo ferri per schiodar quei denti, e uncini abbiamo per strappar quel nome! Costor non mi conoscono! Su parla, vecchio!
Susannens Geheimnis (Il Segreto di Susanna)
Il nome! Sconterete i suoi tormenti! PING Quel nome! Uno sgherro le stringe i polsi. Non mi fan male! No, nessun mi tocca. Il suo nome! Te gli do, Principessa, e perdo tutto! Tormenti e spasimi date a me! PING Sia messa alla tortura! Ho paura di me! Lasciatemi passare!