Sunday, May 26, 2019

Tonight We'll Get A Good Idea Of How Successful Putin Has Been In Doing To The EU What He Did To The U.S.

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Señor Trumpanzee with Italian would-be Mussolini, Matteo Salvini

In Europe, voting for the EU Parliament ends today. But Holland and the U.K. went first-- on Thursday-- and unofficial Dutch results show a gargantuan loss for Geert Wilders, the far right hate-monger who was leading in the polls. This is how it looks right now for the the Dutch delegation (26 seats):
• Labour- 18%
• VVD (mainstream conservatives)- 14%
• Forum for Democracy (neo-fascists)- 11%
• Freedom Party (Wilders' far right Trumpist/Islamaphobic party)- 4%
Turnout was up in Holland to around 37% but North Ireland, where there are 3 seats, shows over 45% voting. Votes there won't be counted until Monday, although the rest of the U.K. should have election results tonight. Here's how the U.K.'s seats are apportioned:
• Southeast England- 10
• London- 8
• Northwest England- 8
• West Midlands- 7
• East England- 7
• Southwest England- 6
• Scotland- 6
• Yorkshire & Humber- 6
• East Midlands- 5
• Wales- 4
• Northeast England- 3
• Northern Ireland- 3
This is how the British parties participating in the election stand on Brexit:
Brexit Party- leave
UKIP- leave
Conservative Party- leave but almost as confused as Labour
Lib Dems- favors remain but wants a new Brexit vote
Labour- complete confusion though most members want a new referendum
Green Party- remain with new referendum
Change UK- new referendum
Der Spiegel published an exhaustive look at the elections: The Right-Wing Populist Plan to Destroy Europe. The German magazine's point is that dramatic exposure of the far right's catastrophic Russian bribery scandal in Austria hasn't stopped the pan-European neo-fascists from battling on towards their goal of destroying the European Union from within its own institutions. Despite Geert Wilder's setback on Thursday, the elections ending today are likely to help them move along towards their goal.

Last Saturday European fascist leaders met in Milan, summoned by the would-be Mussolini, Italian interior minister Matteo Salvini. 11 neo-Nazi parties were represented, including Marine Le Pen from France, Geert Wilders, Jörg Meuthen from the Alternative for Germany party, as well as fascists from Bulgaria, Slovakia, Austria, Belgium, Denmark, Finland and Estonia.
Together, they performed what is by now well-known work, one with some surreal features: Full of bluster, the self-proclaimed "true Europeans" campaigned for entry into a parliament they despise. And they asked the people to give them the power to hollow out a European Union that has been painstakingly built over decades. All of it to the tune of Nessun dorma, along with Puccini's Turandot, its aria ending in fierce chanting: "Vanish, oh night! Set, stars! Set, stars! At dawn I will win! I'll win! I will win!" Vincerò!





On the stage in Milan, not a word was said about the drama unfolding in Vienna, as Heinz-Christian Strache, the head of the right-wing populist Freedom Party of Austria (FPÖ), stepped down from his position as vice chancellor following the leak of a video demonstrating the depth of his corruptibility-- a scandal that also threatened to take down the entire Austrian government. And yet, in Milan they all pretended that nothing had happened. Even as they all knew: Quite a lot had happened.

This time around, it's not about some low-level party official sending Hitler pictures via WhatsApp on the Führer's birthday in provincial Austria. This time it goes right to the top level of the Austrian government, casting light on the worrying state of the Austrian political scene. The videos raise fundamental questions about whether the populists are fit for power. And whether they can be entrusted with government business. And whether Strache and his protégé Johann Gudenus should be regarded as isolated cases or as symbolic figures of a fast and loose relationship between right-wing populists and donations from foreign donors, rule of law and the truth.





Most Austrians, with the exception, perhaps, of FPÖ supporters, were likely to have been deeply shocked by the disregard to the country's constitution shown in the recordings, and many Europeans were astonished by the crooked behavior displayed by the second in command of a government of an EU member state. If the scenes in the Ibiza videos had been part of a TV crime show, people probably would have dismissed them as having been exaggerated and overdone.

..."IbizaGate" feeds into the well-founded suspicions that those thumping their chests as über-patriots in their countries have little problem with conniving with foreign powers, obtaining financing from dubious donors or even being pulled like puppets on a string when it comes to policy. The Strache scandal is undoubtedly detrimental to the original narrative offered by the right-wing populists-- namely that the parties are the lone forces defending the good people against "old parties" and other corrupt elites. But as Strache has now shown, it's the right-wing populists themselves who are in fact the corrupt elite.

Strache's German counterparts from the Alternative for Germany (AfD) have recognized the dangers of such discussions, but they don't want to admit it. Meuthen, one of the party's leaders, has been in damage control mode since last Saturday, describing the Strache Video as a "singular matter" reflecting abominable behavior, but also as a domestic issue relevant only to Austria.

...The Strache circus is of course also a problem for right-wing populists outside of Austria, because the issues raised by the video are a problem for them all across Europe. For months the AfD itself has been tangled up in several party donation scandals involving Alice Weidel, the party's floor leader in German parliament, as well as its leading candidates heading into this weekend's European elections, Meuthen and Guido Reil. Weidel is under scrutiny over a dubious election campaign donation of around 130,000 euros. In Meuthen's case, he is being scrutinized over 90,000 euros from dubious sources used to finance his campaign in a state election in Baden-Württemberg. And there are questions surrounding the nearly 45,000 euros used in a state election campaign in North Rhine-Westphalia for Reil, a member of the AfD's national board.

[Note: UK neo-Nazi, Nigel Farage is in the midst of a scandal showing that he's financed by Putin and devoted to Trump.]

No less troubling is the fact that the Ibiza video once again sheds light on the close contacts many right-wing populists in Europe have with Russia, a problem for which the AfD has also been in the headlines. In April, Der Spiegel, ZDF, La Repubblica and the BBC reported on the activities and connections of Markus Frohnmaier, a member of German parliament with the AfD. A document circulated inside the Russian presidential administration at the time of the Bundestag election campaign describing the politician as potentially becoming "a deputy under absolute control" of Russia.

The BND, Germany's foreign intelligence agency, and the Office for the Protection of the Constitution, the country's domestic intelligence apparatus, are currently detecting a change in the Kremlin's strategy. Rather than relying solely on its own media and channels for campaigning and aiming to steer the agenda, it is now focusing much more on individuals, a small group of parliamentarians were recently told in a classified meeting. They were informed that the people selected by Moscow included somewhere between a half-dozen and a dozen members of the Bundestag. One is Markus Frohnmaier. When contacted for comment, he responded: "I do not allow myself to be used by the Russian government for its purposes and would always refuse to accept attempts of this kind. The reporting about me is nothing more than a campaign."

Senior AfD politician Alexander Gauland is also a frequent guest in Russia, but he rejects any criticism because he claims to be following the foreign policy footsteps of Bismarck, who believed in strong German-Russian relations. Marcus Pretzell, at the time a member of the AfD and current member of the European Parliament, visited the Russian-occupied Crimea as "Guest of Honor" in 2016 and thought it petty when he was later questioned about who paid for the trip.

Similar episodes can be found all across Europe. When Marine Le Pen's Front National, now known as Rassemblement National, convened a party conference in Lyon in November 2014, the guest list was similar to that of Salvini's rally in Milan and delegates from Vladimir Putin's United Russia Party also attended. That same year, Le Pen's party had received two loans from Russian banks amounting to 11 million euros to help finance its election campaigns.

Two years later, the French right-wing populists asked Moscow for another 3 million euro loan, but it is unclear whether it was ever granted. There are, though, indications that Marine Le Pen may have promised not to criticize Russia's annexation of the Crimea and to promote Moscow's interests in exchange for the money. The suspicion, which Le Pen denies, is supported by mobile text messages from a well-known and high-ranking Kremlin official, who wrote among other things: "Marine Le Pen has not disappointed our expectations." And: "We will have to thank the French in one way or another."

In Great Britain, the National Crime Agency is investigating suspicions that Brexit leader Nigel Farage received money from Russia through indirect channels. Many consider it probable that the Kremlin sought to manipulate the Brexit vote to destabilize the European Union.

There is a greater amount of urgency surrounding these questions in the aftermath of the Strache-Ibiza video. Are economic interests at stake when Matteo Salvini's Lega party repeatedly advocates an end to the EU's "useless, or even harmful" sanctions against Russia? Do the Greek far-right parties get money for their frequently expressed conviction that there is a "natural alliance" between Greeks and Russians? How does Russia's president exploit the image he enjoys as being one of the last guardians of true values among European groups of both extremes? A leader who seeks to prevent what he describes as a weakened, immoral, decadent EU from prevailing?

"There is conspiracy of all the radical right-wing nationalists everywhere, apparently with the help of the Kremlin, or of oligarchs round the Kremlin, to disrupt this union," Guy Verhofstadt, a prominent Belgian member of European Parliament, told the Times of London on Wednesday. The German newspaper Die Welt this week quoted former French President François Hollande as saying that whoever votes for populists in Europe is "giving their vote to Trump and Putin."

That may sound preposterous, but it has long since become apparent in the European Council, where European heads of state and government still establish the broad parameters of EU policy. Coalition governments that include populist parties are often more open to influence from abroad than others. Once example is Middle East policy. Countries like Hungary have begun diverging from the European stance to serve American interests. Because Hungary stood in the way, the EU was not able to condemn the Trump administration's decision to move the U.S. Embassy from Tel Aviv to Jerusalem as a diplomatic mistake in December 2017. Budapest essentially became Donald Trump's advocate in Brussels.

The unanimity requirement for important decisions in the European Council thus gives populists veto power. And their partners abroad are quick to praise them for services rendered. Twelve days ago, Hungarian Prime Minister Viktor Orbán was showered with praise by the U.S. president himself during a visit to the White House. Orbán, Trump said, does a "tremendous job" and is "highly respected all over Europe."

That, of course, is far from the truth. In many countries, respect for Orbán is a thing of the past, and when it comes to domestic policy and the judiciary, his government is seen as having betrayed European values. Externally, Hungary has become a gateway for all those wishing to divide the EU. And the number of these open gateways is growing: Russia and the U.S. are not alone in their desire to weaken the EU block. China has also incorporated the EU, the world's largest internal market, into its geopolitical considerations and is searching for access.

The EU isn't equipped to stand up to such adversaries. It does have a couple of instruments it can use to punish intractable member states, but it hardly ever uses them. EU countries worried about being punished in the future regularly block their deployment. The dream of outgoing European Commission President Jean-Claude Juncker that the EU might one day become a global political player seem illusory.

By chance, Juncker was in Vienna this week for a visit that had long been planned. He had apparently decided that he would remain silent about the Strache scandal-- but couldn't ultimately resist. "The idea that one country is put on a silver platter so that others can help themselves," he said, "does not reflect my idea of patriotism."

Jean Asselborn, Juncker's compatriot who is the foreign minister of Luxembourg, expressed deep discomfort. "The European right wing is unified by its desire to bring the free press and the judiciary under its control wherever they have power," he says. "That is true of Hungary and Poland, and that is shown by Strache's comments in the video."

The dangers presented by populists to European unity is significant, says Asselborn. "If European citizens continue placing their trust in these people, there is a risk that we could end up landing where we were back in the 1930s," he says.

The Austrian scandal was also of interest to Angela Merkel. On the Saturday Salvini's party in Milan and the political earthquake in Vienna were taking place, the German chancellor was standing in a basketball arena in Zagreb fulminating against the populists. "Nationalism is the enemy of the European project," she said from the stage. In the press conference that had preceded her speech, she said, "We are faced with populist currents that want to destroy a values-based Europe." Apparently referring to Strache, Merkel added: "That includes putting politicians up for sale. We must decisively stand up to all of that."

But the populists are currently finding success with their assault on the political establishment. They have representatives in parliaments across the continent, and established parties in almost every country in Europe are worried about their advance. In Sweden, the xenophobic Sweden Democrats received 17.5 percent of the vote in last year's elections, a result recently matched by the True Finns, whose overt nationalism fueled their success. The Conservative People's Party of Estonia, which has dedicated itself to the defense of the Estonian ethnicity, jumped from 8.1 percent support to 17.8 percent in March elections.

The numbers show that the populists are generally still far from securing a majority on a national or European level-- Poland and Hungary notwithstanding. But in places like Italy and Austria, they are becoming more than just convenient partners for parties in need of parliamentary majorities and in France, they could become the largest party in the country. In many European nations, it has become increasingly difficult to put together stabile governments made up of moderate political parties.

The communication strategies adopted by the right-wing populists are simply far better than the rather old-fashioned methods of the established parties. It is impossible to ignore the parallels to the 1930s, when the Nazis discovered the power of film and the possibilities presented by television-- as exemplified by the broadcast of the 1936 Olympic Games. The populists and extremists of today were much quicker to understand the opportunities inherent in the digital world than their political rivals, many of whom remain stuck in analog antiquity. Populists still use traditional media outlets, but are increasingly circumventing them.

The Germans may still be playing catch-up, but in Italy, France and Austria, the populists have learned to take full advantage of what the new media world has to offer. They may like to complain that they are being treated unfairly by the "leftist media" and libeled by the "fake news," but in truth, other channels have long since become more important for them.

Matteo Salvini reaches 3.7 million people directly via Facebook, the kind of follower numbers otherwise only seen with pop stars. It helps explain why he always seems to be the center of attention. The traditional political reports seen on Italian public broadcasters or in critical newspapers merely serve to round out his brand. As strange as it might sound, Salvini is one of the largest mass-media outlets in Italy, which works to his tremendous advantage. It means that he can present himself and his worldview free from pesky critical questions.

Austria's fallen Vice Chancellor Strache has 779,000 Facebook followers in a country with a population of not even 9 million. Like Salvini, he and his team are adept at using emotion, both positive and negative. Mother's Day and children's birthdays are celebrated with pretty pictures, hearts and kisses - the idyllic world the FPÖ professes to protect. Then he posts stories about ungrateful asylum seekers, sex criminals and unwanted migrants, often with his own indignant commentary. Strache's posts aren't just read and liked, they are also shared and commented on thousands of times, increasing their value.

Marine Le Pen similarly has 1.5 million followers on Facebook. Victor Orbán has 657,000. Some might argue that these numbers are something of a counterfeit currency and that their appearance in an article such as this represent the downfall of political analysis, but it is almost impossible to overrate their value. In this day and age, for politicians and others in positions of power, large follower counts mean message control, the ability to disseminate one's own messages without the inconvenience of a filter.

The more people follow a politician on Facebook, Twitter, YouTube or Instagram, the less dependent that politician is on the reporting of independent media and the fewer critical questions from journalists he or she needs to answer. Of course, it's not all hearts and kisses on their social media accounts-- they are badgered and taunted, and not all of their followers are fans. But anger and controversy serve to jack up the click numbers-- and in the new currency of digital attention, clicks are good, no matter where they come from.



It has become something of a parallel reality. Manfred Weber, the lead candidate in the European elections for the center-right European People's Party, doesn't even have 60,000 followers on Facebook. Weber presumably prefers devoting himself to projects he believes are more important than improving his internet presence. But it is doubtful that today's politicians can afford the luxury of such an approach. What has been true for the media for the last several years is now true for politicians as well: If you're not present in the digital world, you soon won't be present at all. Low name recognition translates to diminished election prospects, not to mention a weakened ability to attract younger voters or those voters who tend to stay away from politics.

Clever politicians like Salvini or Strache are perfectly suited to an era in which voters prefer watching videos than reading essays. But the current wave of populism aimed at the European Union and its Brussels headquarters is more than just a game being played by self-obsessed demagogues online media. The current form of populism, whose actors pose as the uncorrupted in a sea of corruption, has many roots: real problems and unrealistic expectations; broad fears of eroding financial security; feelings of being left behind. That is where populism derives its strength. And the anger that comes with it is perhaps best studied in the Eastern European countries that joined the EU a decade and a half ago.

These European elections are falling on a European anniversary that is being largely ignored. Fifteen years ago, the EU incorporated an entire group of Eastern European countries, enabling the peaceful unification of the continent-- an historical godsend that led to a Nobel Peace Prize for Brussels. Today, however, this same EU has a terrible-- catastrophic even-- image within the right-wing governments in these countries.

Bannon with a bunch of European neo-Nazis in Budapest

In many parts of Eastern Europe, the EU is seen as a conspiracy of overpaid, traitorous bureaucrats. Like the communists before them, it is said, the EU technocrats are intent on reeducating the Eastern Europeans. They see the EU as trying to tame nation, tradition and religion. The women are to have fewer children, gays and lesbians are to be allowed to get married and adopt, and Muslims from Africa and the Middle East are to be permitted to settle wherever they want. And the blame, in this view, lies entirely with Brussels.

That is the message delivered by Jaroslaw Kaczynski, leader of the nationalist-conservative Law and Justice party in Poland, and by Hungarian Prime Minister Viktor Orbán and his Fidesz Party. The governments in Estonia, Bulgaria, Romania, the Czech Republic and Slovakia also include similar figures. EU-skeptics have become established everywhere in the region.

And yet, contradictions abound. No halfway influential party in Eastern Europe wants to leave the EU. Despite the success of the Kaczynskis and the Orbáns, the EU enjoys tremendous support from the Baltics to the Balkans, including 90 percent support in Poland. The governments clearly have no mandate to escort their countries out of the EU. Indeed, surveys indicate that people there have more trust in the EU than in their own elites.

There is an economic explanation. Between 2004 and 2020, 356 billion euros will have flowed into the 10 accession countries from the European Structural and Investment Funds alone. Struggling state economies have transformed into regions of significant growth. The EU brought in investors, financed road construction, built universities and developed data networks. City halls and hospitals were renovated with EU money. And Brussels also helped reform the public administration and the judiciary - and strengthen civil society.

The EU triggered a wave of modernization in Eastern Europe that took three decades longer to unfold in the west. Prosperity, of course, is not equally divided. Statistically, however, the standard of living has risen significantly in all the accession countries. Eastern European societies have also become freer and more mobile in the last 20 years. There is no "objective" reason to be opposed to the EU in Warsaw, Budapest or Ljubljana.

There are, however, subjective, less concrete reasons. Karel Schwarzenberg, who spent several years serving as Czech foreign minister and is a passionate supporter of the EU, argues that people know what the EU has done for them, but don't feel at home in it. He says that all too often, Eastern Europeans have been delivered the message that they are second-class members of the bloc-- poorer and still backwards, and that they should become real Europeans, real democrats before they speak up. A comparison can be drawn to the feeling former East Germans often have in reunified Germany.

It is a feeling not just experienced by politicians from Eastern Europe sent to Brussels, but by millions of Poles, Hungarians, Czechs and Slovaks in their day-to-day lives. Around 20 million people have at least temporarily left their Eastern European homelands to work in the West. Instead of getting to know the continent as student travelers or vacationers as many in the West were privileged enough to do, an entire generation of Eastern Europeans have experienced Western Europe as cleaning ladies, itinerant farmworkers and manual laborers. As domestic help for the wealthy of the West.

The resulting feelings of inferiority have fueled right-wing populists. The decades in which Eastern Europeans wanted nothing more than to emulate the West are over and a phenomenon has developed that the Bulgarian political scientist Ivan Krastev describes by saying: "Imitation engenders resentment." That resentment, he says, is directed at the erstwhile role models. It is stoked by the populists, who transform feelings of inferiority into aggression directed against the Brussels elite and the "servants" of the EU in their own capitals.

In places like Warsaw and Budapest, people have begun to feel like they have already experienced the best of what the EU has to offer. Now everything coming from Brussels is a threat to their own culture and lifestyle: environmental requirements, gay rights, migrant quotas, all kinds of duties and obligations, the arduous negotiations that are the hallmark of democracy.

The 2015 refugee crisis plunged half of Europe into temporary chaos, but more than anything, it gouged out a chasm between West and East. The demand primarily from Western European countries - or, to be more precise, from Germany - that all countries must help when it comes to distributing the refugees triggered the release of dissatisfactions that had been developing for quite some time. People in the east felt like they had survived the collapse of communism, lost jobs and got jobs, changed themselves, changed everything, and still hadn't caught up to the West. And now they were supposed to look after people even weaker than them?

In Brussels, such a point of view is seen as petulance and leads to a loss of influence. Exaggerated nationalism and unilateralism aren't welcome in the EU. They are a dead end. Poland and Hungary, in particular, sideline themselves in negotiations, frequently avoid complicated issues and tend to pound testily on the table rather than patiently pursuing their own interests and trying to listen to and understand the interests of others.

This leads to a dangerous cycle: countries driven by nationalism achieve less and less in Brussels, which leads to increasing alienation from the EU back home. Blame for a lack of success is pinned on anonymous powers in Brussels, the technocrats, the immovable and corrupt elites, thus paving the way for the empty yet pithy slogans of the populists.

The disruptive potential of the right-wing fringe in European Parliament has long been limited to mere spluttering expostulations from the plenary floor-- and their occasional misuse of EU money for their own benefit. Instead of using parliament for serious policy work, they saw it as a stage from which they could send messages back home-- a stage adeptly used by Farage, Salvini, Le Pen and others of their ilk. For some time, they were content to mock Europe's legislative body, but that is now changing. Le Pen has undergone perhaps the most profound metamorphosis, and for her opponents, that should be rather unsettling.

For a long time, her focus was on "Frexit," on leading France out of the common currency. She saw anything European as evil and abhorrent. These days, though, she ends her campaign speeches with the battle cry: "Long live the real Europe! Long live France!"

The chant "vive l'Europe" is, despite the qualification represented by the word "real," a 180-degree reversal. Until this year, Le Pen had consistently campaigned on the promise of freeing her country from the yoke of the common currency. It is a promise that, most recently, failed to generate its desired result in 2017, when she performed so badly in a now legendary televised debate on EU issues with the ultimate election winner Emmanuel Macron that it seemed like her political career may have come to an end.

In the parliamentary elections that followed, her Front National party didn't even win enough votes to form its own parliamentary group, a failure that Le Pen interpreted as the result of widespread fear in France of leaving the eurozone. As a result, since fall 2017, she has been an ardent supporter of the "real Europe," a message that proved divisive in her party. But she was determined. She no longer wanted to frighten people away with "Frexit"-- and now she appears to really believe that an alliance with her new friends in Italy, Poland, Austria, Germany and elsewhere represents a plausible path to power for the right-wing movement.

That's not particularly realistic. Thus far, every attempt at a broad, right-wing alliance in Europe has failed miserably, with the Front National itself having been part of many of those failures. The new concept for a European Alliance for People and Nations is also unlikely to go anywhere and conflict seems unavoidable.

The AfD in Germany and Lega in Italy are roughly as far away from each other on economic and finance policy as the liberals from the FDP and the far-left Left Party are in Germany. There are also deep, seemingly unbridgeable ideological rifts between Le Pen's party and the PiS in Poland and Fidesz in Hungary when it comes to society, family and women. As such, the planned right-wing "super fraction" is nothing more than a typical populist mélange of braggadocio and canniness. Likely the most important motivation for cooperation is the prospect of forming a large fraction that would automatically become more visible in European Parliament. It would also be handed more responsibilities, receive more speaking time and, most importantly, get more money.

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Friday, October 12, 2012

Sunday Classics preview: The post-operatic Rossini

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Tenor Dalmacio Gonzalez sings the "Cuius animam" from Rossini's Stabat Mater -- in an August 1981 Proms performance with the Philharmona Orchestra conducted by Carlo Maria Giulini. (DG made a recording with the same forces as the Proms performance.)

by Ken

It's impossible to talk about the career of Gioachhino Rossini (1792-1868) without taking note of the fact that, though he lived almost another 40 years, he completed his last opera, William Tell, in 1829, at the age of 37. With his retirement from the stage he didn't stop composing, though -- though now, freed from the exigencies of opera-house work, he could decide what and when to compose (probably the most representative products of this period are the short instrumental and vocal pieces collected as his Sins of Old Age), and didn't show a lot of concern for unleashing these works on the public.

Among the "post-theatrical" compositions are Rossini's two major sacred works, the Stabat Mater (1831-1841) and the Petite Messe solenelle (1864-67). The highly unorthodox Mass clearly qualifies as a "late" work, whereas Rossini's setting of the medieval Latin poem Stabat mater dolorosa (The Sorrowful Mother Stood) was completed well before the composer's 50th birthday. For our purposes this week, however, it does give us one example of music that came from his pen following his retirement from the stage.

What we're hearing tonight is the famous tenor solo, "Cujus animam gementem" (which soars famously up to higher-than-high-C high D-flat). I don't think it's going out on a limb to suggest that not many composers would have heard music anything like what Rossini did for the "Cujus animam."

The Caruso and Bjoerling recordings were done as 78s, and so were almost certainly influenced by the 78-side recording limitation. Even so, I think it's fair to say that the Giulini-conducted performance in the video clip above is really broadly paced, even more so than the 1967 Rome Radio performance from which we hear Luciano Pavarotti singing the "Cujus animam" below. For comparison, we're also hearing the Decca studio recording Pavarotti made just a few years later with István Kertész.

ROSSINI: Stabat Mater: "Cujus animam gementem"
Through her heart, His sorrow sharing,
all His bitter anguish bearing,

now at length the sword has passed.

O how sad and sore distressed

was that Mother, highly blest,
of the sole-begotten One.

Christ above in torment hangs,

she beneath beholds the pangs

of her dying glorious Son.
[English adaptation by Victorian poet-composer Edward Caswall]

Enrico Caruso, tenor; Victor Orchestra. Victor, recorded Dec. 15, 1913

Jussi Bjoerling, tenor; orchestra, Nils Grevillius, cond. EMI, recorded Oct. 12, 1938

Luciano Pavarotti, tenor; RAI Symphony Orchestra, Rome, Carlo Maria Giulini, cond. Live performance, Dec. 22, 1967

Luciano Pavarotti, tenor; London Symphony Orchestra, István Kertész, cond. Decca, recorded March 1971


IN THIS WEEK'S SUNDAY CLASSICS POST

We're actually going to be focusing on the other end of Rossini's creative career.
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Sunday, April 17, 2011

Sunday Classics: Verdi blows the lid off the whole Krap Kristian hypocrisy

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Mezzo Agnes Baltsa really pounds home the looming threat of the "written book" that contains the record of all that each of us has to answer for. In the "Liber scriptus" of the Dies Irae ("Day of Wrath") of the Verdi Requiem, with Herbert von Karajan conducting the Vienna State Opera Concert Chorus, the Chorus of the Bulgarian National Opera (Sofia), and the Vienna Philharmonic, in this June 1984 film.
A written book shall be brought forth
in which all is recorded,
whence the world shall be judged.

Therefore, when the Judge shall be seated
nothing shall be held hidden any longer,
no wrong shall remain unpunished.

by Ken

I suppose it could be argued that people like Ronald Reagan and Dick Cheney and Donnie Rumsfeld and George W. "Chimpy the Prez" Bush and Scott Walker have thought they were doing the Lord's work. Maybe yes, maybe no. Surely all the banksters know what they've been getting away with. But then, sinners always come in two categories: those who are aware of their sins, and those who need to be made aware.

As I promised last night, today we zero in on two subsections of the Dies Irae section of the Verdi Requiem, the "Liber scriptus," sung by the mezzo soloist, and the "Ingemisco," sung by the tenor -- sections that seem to me to drive home to anyone capable of shame the simple principle that we are all answerable for our actions.


The young Luciano Pavarotti sings the daylights out of the "Ingemisco" from the Verdi Requiem, from Karajan's earlier (1967) video recording with La Scala forces. Even as Pavarotti's singing became lazier and more whorish -- over most of the years of his greatest celebrity -- the Verdi Requiem always seemed to bring him back to his roots.
I groan as one who is accused;
guilt reddens my cheek;
spare Thy supplicant, O God.

Thous who absolved Mary,
and harkened to the thief,
and hast given me hope.

My prayers are worthless,
but Thou who art good and kind,
rescue me from everlasting fire.

With Thy sheep give me a place,
and from the goats keep me separate,
placing me at Thy right hand.

FOR MORE OF THE "LIBER SCRIPTUS"
AND "INGEMISCO," CLICK HERE

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Friday, October 22, 2010

Sunday Classics flashbacks: Sutherland and Pavarotti; and "authentic" "Raging Bull" music

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Sutherland and Pavarotti in Il Trovatore (San Francisco, 1975)

by Ken

On the whole I was pretty satisfied with the tribute to Joan Sutherland I put together (a) on short notice and (b) drawing only on what I've got on CD -- most of the "standard" Sutherland recordings I've had for ages in their original LP formats.

I should perhaps have been more specific in calling attention to the historic partnership of Sutherland and mezzo-soprano Marilyn Horne, although I think it was represented as well as it could have been by our 1970 Norma excerpts. I was sorry, though, not to represent another famous Sutherland partnership: with tenor Luciano Pavarotti. Sutherland and her husband, conductor Richard Bonynge, may not have "discovered" Pavarotti, but they gave his career a big boost by making him part of their "road" company for their Australian touring.

Maybe this isn't the ideal remembrance -- Violetta not having been Sutherland's most memorable role -- but here are the famous drinking song and the "Un dì felice" duet from Act I and the "Parigi, o cara" duet from Act III of Verdi's La Traviata.

VERDI: La Traviata:
Act I, "Libiamo, libiamo"


Act I, "Un dì felice, eterea"

Act III, "Parigi, o cara". . . "Ah, non più" . . .
"Ah, gran Dio, morir si giovine"


Joan Sutherland (s), Violetta Valéry; Luciano Pavarotti (t), Alfredo Germont; Metropolitan Opera Chorus and Orchestra, Richard Bonynge, cond. Live performance, Oct. 22, 1970


AND A FOLLOW-UP ON THE RAGING BULL MUSIC

We have some unfinished business here. As I mentioned, I ordered and received the two-CD soundtrack recording from Raging Bull which was issued nearly 25 years after the film was released. I think we did better with our performances of the three Mascagni pieces used, but here are the "authentic" soundtrack ones with Arturo Basile conducting (again, I'm guessing) the Orchestra of the Teatro Comunale of Bologna.

MASCAGNI:
Cavalleria rusticana: Intermezzo: mostly just the "big tune"


Silvano: Barcarolle

Guglielmo Ratcliff: Act III Intermezzo ("Ratcliff's Dream")



IN TOMORROW'S SUNDAY CLASSICS PREVIEW

We arm Brahms with a violin and a cello and stand back as we prepare for "Double Concerto" Sunday.
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Saturday, September 25, 2010

Sunday Classics digression: And now for the MOST beautiful curtain-lowerer

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In this concert performance, Plácido Domingo and Renée Fleming sing the great Act I-ending duet from Verdi's Otello, in 1998. Yes, the intro has been lopped off (presumably for YouTube time-limit reasons; well, we're going to hear it below, twice), and the audio and video are both so-so, and the clip is out of sync, and oh yes, since it is a concert performance, there's no curtain to come down. Oh well. On the plus side, the clip has subtitles.

by Ken

In last night's preview I said that I would probably rate the Frau ohne Schatten Act I finale the second most beautiful curtain-lowerer in the operatic canon? I don't think there can really be much question about the No. 1 spot.

VERDI: Otello: Act I, "Già nella notte densa" (Love Duet)

There's a lot to talk about in this, surely the most astonishing love duet ever put to music (thanks in no small part to Arrigo Boito's brilliant libretto), but that will have to wait to another time. If you just want to hear the issue at point, the most beautiful musical curtain-loweirng I know, feel free to skip ahead to about 7:35 of the Pavarotti-Te Kanawa-Solti performance, or 9:18 of the Vickers-Freni-Karajan.

And yes, as those time cues suggest, one of these performances is often distinctly more gradual than the other. You'll hear a startling difference right away in the opening cello solo, Solti going for a very different effect before broadening the tempo for the cello-quartet intro proper. I chose these are two very pretty performances, by the way, partly because (a) they are very pretty as well as distinctly different performances and partly because (b) the CD editions have the entire duet in a single track and, more important, the track starts at the obvious point: the cello solo that leads to the cello quartet that leads to Otello's first line, "Già nella notte densa." I am startled to see that the common thing on modern CDs is to tack all this cello noodling onto the previous track and put the new track point at the tenor's entrance on "Giá nell notte." Unbelievable!

Let me just say of the Solti-Chicago Symphony Otello recording that I'm one of the few quasi-serious people I know who actually likes it -- yes, including Signor Luciano's performance of the title role, from a time by which I had lost most of my good feeling for him. I don't know that Otello would have been a workable stage role for him -- he doesn't seem to have thought so, never singing it except in the concert performances from which the recording was produced -- but I think that on records it rather works.

[Note: You'll find a complete Italian-English libretto of the opera online here. Just scroll down to Scene 3.]

Luciano Pavarotti (t), Otello; Kiri Te Kanawa (s), Desdemona; Chicago Symphony Orchestra, Sir Georg Solti, cond. Decca, recorded live, April 1991

The following performance seemed to me a tad too languorous to stand on its own tonight (it runs almost a minute and three-quarters longer than than the above recording), but it is nevertheless an awfully beautiful performance of this sublime music.

Jon Vickers (t), Otello; Mirella Freni (s), Desdemona; Vienna Philharmonic, Herbert von Karajan, cond. Live performance from the Salzburg Festival, July 30, 1971


IN TOMORROW'S SUNDAY CLASSICS POST

Back to the troubled relationship of Barak the Dyer and his wife in Die Frau ohne Schatten.
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Saturday, January 17, 2009

So who was the world's greatest tunesmith? Owing to a sudden, er, schedule availability, my answer will come in tomorrow's classical music post

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Raina Kabaivanska (at age 56) and Luciano Pavarotti (age 55, in a role I don't think he ever sang all that effectively) sing most of the Act I duet from Puccini's Tosca, with Daniel Oren conducting. On the plus side, the clip has subtitles. (It begins at Tosca's "Al tuo fianco sentire.") The phrase "Qual occhio al mondo . . ." comes at 4:29.

by Ken

Owing to technical difficulties (mine, and trust me, you don't want to get me started on that -- after staying up an entire night trying to do a couple of pathetically simple "clips," consisting of nothing more than an image tacked onto an MP3 audio file -- I'm prepared to swear that this whole Internet thing is a cruel hoax, and this YouTube thing a ridiculous scam that'll never catch on), this week's music program has been pushed back to next week.

We were going to have a name-the-composer quiz in anticipation of tomorrow's Sunday classical music post. I'm going to allow that damned Internet and YouTube a week to get their act together. For now, though, I want to pursue an issue that comes up in the course of the now-delayed discussion: What the heck makes a great melody a great melody?

Oh no, I'm not going to try to answer that question. I'm not that crazy. I'm simply going to register astonishment at how ill-equipped I am to even consider it, and I'm not sure there's anybody much better equipped. I don't see any fancier alternative to the reality that we recognize great tunes after the fact, by the power they have to take control of the consciousness, and burrow into the unconscious, of large numbers of listeners.

By way of an obvious example of how hopeless it seems to me to try to define or analyze this, I return to that great moment I wrote about last week in the Act I "love duet" of Tosca, a duet that barely manages to be one as Tosca and Cavaradossi, preoccupied with their own problems, mostly talk past one another. Finally comes that remarkable moment when Cavaradossi, responding to Tosca's jealous fixation on the eyes he has painted in his portrait of the Madonna, for which he has used the beautiful Marchese d'Attavanti as a model.

Suddenly Floria has Mario's full attention, and Puccini has given him one of the great opportunities in the tenor literature. "Qual occhio al mondo puo star di paro all'ardente occhio tuo nero?" "What eyes in the world can stand comparison with your ardent black eyes?" (For the record, Mario refers in both instances to "eye," singular, but it seems to me that in English that just sounds silly, especially when we're confronted with the image of Tosca's "black eye.") This is the kind of take-charge moment for which good singers pay their career dues, and great singers announce themselves. If our tenor can take charge of it, can pour forth the wash of honeyed tenor magic for which the composer set him up, this can be as arrestingly beautiful moment as has ever been conjured by the mind of man.

(Not entirely surprisingly, if I could hear only one singer here, it would be Jussi Bjoerling -- in the RCA Tosca with Zinka Milanov and Leonard Warren, conducted by Erich Leinsdorf -- even though his was a lighter grade of tenor than the role calls for. No tenor has matched, not just his vocal refulgence, but his seemingly intuitive sense of how to shape a Puccinian phrase for maximum buildup and release. No, I'm not thrilled with the above clip, but I decided it was the best I could do. A significantly younger Kabaivanska, a fine artist of whom I have some lovely memories, can be heard from Japan with tenor Flaviano Labo in 1973. And I've heard worse performances than the Standard Hour one, apparently from 1953, by the improbably cast Licia Albanese and Jan Peerce, who actually did sing these roles a little.)

But as I pointed out last week, from the analytical standpoint, the "melody" Puccini has given the tenor is mostly just a series of upward-and-downward scale passages. This is supposed to be melodic genius? Uh, well, 'fraid so.

Obviously there's no rational answer to as preposterous a question as "Who was the greatest melody-writer of all time?" But it can be a fun question to speculate on. And the field is wide open -- anyone who wants to throw in the name of Irving Berlin can make an awfully good case, based on both quality and the astonishing volume.

It's not hard to think of candidates for the title. What I find kind of surprising is that, at least in my mind, there's not much question about the answer. And obvious as the answer seems to me, I can't offer any kind of rational defense of it. Tomorrow I will content myself with a couple of examples.
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Thursday, September 06, 2007

It's the 28th-anniversary republication of Conrad L. Osborne's famous (but not famous enough) "Diary of a CavPag Madman"

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The Diary of a CavPag Madman
by Conrad L. Osborne


INTRODUCTION AND THUMBNAIL REVIEW

This review will be a departure from the accepted format. It's a forced departure that may hit some readers as an act of critical desperation; if so, the basic message is coming through. A crazy response for some crazy realities--R. D. Laing would understand.

But some of you, I'm sure, will only be indignant at all this craziness and desperation. What call is there, who needs it, isn't there enough? (No! Here are things getting crazier by the day, and here are lots of people not noticing. They include people who are paid to notice, and should be the craziest and most desperate of all, like me. Perhaps they must be paid more to keep on noticing: At the going rates, how important can it be? A point, but no excuse; if the rich pusher and the poor cop are in cahoots, I say shoot the cop first.)

Still, you want a sensible review after all, some facts and come now reasonable evaluation. So we open with morceaux of each, the more so since it gets crazy farther on. This pairing of cavpag was recorded in London two years back, and is a vehicle for the charming and currently popular lyric tenor Luciano Pavarotti. It's a cavpag package, you have to buy them both, which is sort of too bad,

BECAUSE

the Cavalleria is passably sung and quite interestingly conducted by Gianandrea Gavazzeni, therefore conceivably desirable to those who place high value on conductorial nuance, whereas the Pagliacci is a no-account bore. (End of facts. Further reasonable evaluation, and somewhat more detailed review, can be found rather far below, for those who wish to skip the craziness and desperation.)

WHAT!?

Oh, you don't think it can possibly be a no-account bore? I exaggerate, I have given in to the rhetorical?

THUMBNAIL REVIEW OF PAG AS IT WOULD READ IF HONESTY WERE THE ONLY CONSIDERATION

This really stinks. Ees so bad, ees terrible. I suspect Robert Wilson's influence, in that the case passes beyond questions of competence or incompetence to the very nature of performance, of whether or not the performance can be said to exist and if so why. I say it doesn't, and this is getting to be a hateful and sophistical inquiry of a philosophical nature; there is obviously nothing evaluative to be said about something that is, literally, a nonentity. End of review.

EXPLANATORY NOTE ON DESPERATION

There is a degree of desperation, or at the least anxiety, that is always present in the makeup of a critic worth anything at all. It relates to his evaluative function. Admit it: The strongest single motivating factor is the stubbornly held conviction that something's wrong, that the critic sees what it is when others don't, and feels he must say so. He believes it is constructive to say something's wrong; saying that something's wrong is the act he most fervently believes in and regards as his contribution. Naturally he also says that something's right when he believes it to be. But frankly, that is less important, because whatever's right is already okay, right?, and besides it doesn't happen as often. Because of his astonishment and delight at finding something right, he is apt to discourse disproportionately over it, especially when he considers it important that a particular right be recognized and accepted. But he rall shouldn't. No one ever became a critic in order to say that all's well, nor has anyone ever given a damn for such a critic except for selected beneficiaries (foolish ones) of such criticism.

If one accepts this, then whence anxiety? Why first, one belongs by definition to an embattled minority. If many others shared the perception that something's wrong, then either it wouldn't be wrong or there would be nothing noteworthy about the perception. Of course the critic finds allies, he is not univerally disliked or resented. But since he frequently feels more in common with the dislikers and resenters than with the allies, there is a mild anxiet about th whole business, just on the human level.

That is nothing. The real problem defines itself when the critic arrives at the view that the somethings wrong are so basic, so pervasive, and so crippling that they render the usual evaluative norms quite useless. This type of perception is, of course, the source of all true innovation and reform in art. No creator would accomplish anything of importance without it, as one of the very few valuable critics (and creators), Shaw, observed in his wonderful commentary on the relationship between progress and "the unreasonable man."

But to offer criticism from this perspective is very difficult. How helpful (and how credible?) can itbe to repeatedly point at a crumbling cornerstone when all concerned insist that the building is structurally sound and is to be judged on the taste of some new decorative elements, a dormer or some new lintels? And indeed there may be some splendid new dormers and lintels, and some not so hot, and a number of companies in the business of the manufacture thereof, and here is the monthly Dormer and Lintel Review, and can you really keep on saying, "The dormers and lintels do not matter, because when I passed the building yesterday, it had fallen down," when here is the morning paper with a photo of the building as it once was and a perfectly intelligent-sounding article on the new dormers and lintels, and you look out the window and by God there is a truck delivering more dormers and lintels to the site, and your neighbors in earnest discussion of the new details of the building, as if it were still standing?

NOTE ON THE STANDING BUILDING MIRAGE

Here is the rubble of the building, already cold and settled in a deep hole, and here are many estimable people with a stake in the illusion of its existence. They range from the manufacturers and deliverers to media persons assigned to report on gingerbread to far-off subscribers of the Review who have in fact never seen the building but look forward to reading about the new dormers and lintels and like to buy similar ones for their own homes. My God, they will all be bloody angry if I say, "Either this building has not yet been reconstructed or it has fallen down again. In any case it still isn't standing up. I

EVIDENCE FOR ALLEGED EXISTENCE OF PAG


BRIEF RECAP OF CONCEIVABLE ARTISTIC JUSTIFICATION FOR NEW RECORDING OF AN OPERA


POWERFUL SUSPICION AS TO REAL REASONS FOR BEHIND NEW CAVPAG RECORDING


OBSERVATION IN INTEREST OF FAIR-MINDEDNESS


MUSINGS ON LUCIANO'S RECENT PROGRESS


A BACKWARD GLANCE AT LUCIANO


NOW YOU'RE GETTING PERSONAL


MOVING ALONG NOW
still pretty good, at points brilliant, but the tops of some phrases ("saro per te" in the duet, the big toughie in "Parmi veder") do have a disappointingly constricted sound. He moves with an oddly dainty gait. In the last act, he makes a point of feeling up Maddalena while leering cutely at the audience. Luciano has learned to keep on being Luciano while the opera is trying to take place. The audience would rather see Luciano than an opera, so it's total success. . . . [That's mezzo-soprano Anna di Stasio pictured in Luciano's, er, clutches. The pictures, by the way, are not from the original article. This is just part of the service that DWT provides, without additional charge.]

Later yet, at a Boheme, I really can't hear Luciano's top at all, except when the accompaniment is vide or he happens to catch hold of a phrase riding nicely from below, as at the opening of "O Mimi, tu piu." To put it bluntly, it's a bust, but the audience reaction is wild--this is a personal appearance event. I begin to form a rather unappetizing image of a huge, mincing galoot with a pretty, medium-sized voice that can't make climaxes, kneading his handerchief and appealing to the audience for sympathy for all his hard work and sweet personality.

Since then I have heard Luciano sing high and small, low and large. . . .

On all the TV shows, it's of course much harder to tell about the balance of the voice. But you can tell that singing, good or bad, is tough labor (indeed, Luciano shows off the labor just a bit) and that Luciano is a genuinely likable and amusing man with a sharp sense of his own appeal. Also that he has lost weight. Artistic failures and successes cease to have any relative values, since the audience and colleagues are parts of the act and behave as if each effort produced a triumph of absolutely equal and predictable proportions.

FINAL QUERY BEFORE LISTENING TO ALLEGED PAG


PRELIMINARY INVESTIGATION OF PAG RUMORS (MORE LIKE A REVIEW)


SO WHAT'S THE EXPERIENCE?


UTTERLY SUBJECTIVE, THEREFORE ENTIRELY VALID REPORT OF FURTHER INVESTIGATION


BUT HOLD IT A SEC


FINAL BEDCHECK (YOU GUYS HAVE EXACTLY ONE MINUTE OR I GIG THE WHOLE BARRACKS)


CAN'T YOU BE MORE SPECIFIC?


BUT WHAT ABOUT MIRELLA?


THEORIES ABOUT MIRELLA'S MIDDLE RANKED ACCORDING TO OUR FONDEST WISHES


M'S M THEORIES RANKED ACCORDING TO REAL-WORLD PROBABILITIES


WHO ELSE?


REFLECTIONS ON CAGEY CARLO AND A COUPLE MORE


CAV REVIEW


PERSPECTIVES ON PIERO


PIERO, THE ACTOR
For some reason, Piero sneers the line "Ite voi altri in chiesa." (No mere bel canto showoff he, but a singing actor.) Is Alfio an atheist? Or does he make fun of the womenfolk? Or is he just The Villain? You got me.

LUCIANO!?


WHY PICK ON THIS SET?


WHAT LONDON SHOULD DO WITH THIS CAVPAG PACKAGE
First, try to figure if there is some way you can chop this up so the pag labels don't have to be on the backs of the cav labels, or else subtract the pag price from the cav price. If that doesn't work, consult Jerzy. He can be reached in Wroclaw. He may be reluctant at first, but maybe you can break the ice with a Polish joke.



LEONCAVALLO: I Pagliacci
Nedda: Mirella Freni (s)
Canio: Luciano Pavarotti (t)
Beppe: Vincenzo Bello (t)
Tonio: Ingvar Wixell (b)
Silvio: Lorenzo Saccomani (b)
Villagers: Pacho Panocia (bs) and Fernando Pavarotti (t)

MASCAGNI: Cavalleria rusticana
Santuzza: Julia Varady (s)
Lola: Carmen Gonzales (ms)
Mamma Lucia: Ida Bormida (ms)
Turiddu: Luciano Pavarotti (t)
Alfio: Piero Cappuccilli (b)

Finchley Children's Music Group (in Pagliacci), London Voices, National Philharmonic Orchestra, Giuseppe Patane (Pagliacci) and Gianandrea Gavazzeni (Cavalleria), conductors [James Mallinson (Pagliacci) and Michael Woolcock (Cavalleria), producers] LONDON OSAD 13125 (three discs)

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Thoughts on Luciano Pavarotti from all the way back in 1979, when the whole "Three Tenors" thing was still a dreadful idea waiting to be hatched

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I'm going to have my say on Luciano later. However, the best piece I can even imagine on the subject has already been written, was written in fact as far back as 1979--and no matter that the career went on for another quarter-century. (My God, this was even before "The Three Tenors"!) Unfortunately, I can't offer you the whole piece, since I no longer have even my tattered old copy to type it from. (I have actually typed the whole piece out in order to share it with someone.) It appeared in the June 1979 issue of High Fidelity magazine, which unfortunately seems to exist in the digital universe only as an echo.

However, thanks to blogger Jaime J. Weinman, who writes a blog called "Something Old, Nothing New: Thoughts on Popular Culture and Unpopular Culture" and seems to be as wise as he is sturdy-fingered, I can offer you some bits that will give you the gist. Jaime apparently typed out the excerpts that follow for a 2004 entry titled Conrad L. Osborne: Best Opera Critic Ever. (I've taken the liberty of rejiggering his version a bit, to align it with my recollection of how the piece appeared in print.)

"Reviewing a very mediocre recording of Pagliacci starring Luciano Pavarotti," Jaime explained, "Osborne wrote a long, funny, almost stream-of-consciousness piece about Pavarotti's ascent to pop-stardom and the descent of opera recording (and, in many ways, opera itself) into blandness. Here he writes about Pavarotti and his decline since an early, brilliant performance in Lucia di Lammermoor."

[from "The Diary of a CavPag Madman"
by Conrad L. Osborne
High Fidelity, June 1979]

MUSINGS ON LUCIANO'S PROGRESS

I think he'd want us to call him Luciano, don't you? . . .

Now here's Luciano singing the Duke in a big splash of a Rigoletto . . . still pretty good, at points brilliant, but the tops of some phrases ("saro per te" in the duet, the big toughie in "Parmi veder") do have a disappointingly constricted sound. He moves with an oddly dainty gait. In the last act, he makes a point of feeling up Maddalena while leering cutely at the audience. Luciano has learned to keep on being Luciano while the opera is trying to take place. The audience would rather see Luciano than an opera, so it's total success. . . . [That's mezzo-soprano Anna di Stasio pictured in Luciano's, er, clutches. The pictures, by the way, are not from the original article. This is just part of the service that DWT provides, without additional charge.]

Later yet, at a Boheme, I really can't hear Luciano's top at all, except when the accompaniment is vide or he happens to catch hold of a phrase riding nicely from below, as at the opening of "O Mimi, tu piu." To put it bluntly, it's a bust, but the audience reaction is wild--this is a personal appearance event. I begin to form a rather unappetizing image of a huge, mincing galoot with a pretty, medium-sized voice that can't make climaxes, kneading his handerchief and appealing to the audience for sympathy for all his hard work and sweet personality.

Since then I have heard Luciano sing high and small, low and large. . . .

On all the TV shows, it's of course much harder to tell about the balance of the voice. But you can tell that singing, good or bad, is tough labor (indeed, Luciano shows off the labor just a bit) and that Luciano is a genuinely likable and amusing man with a sharp sense of his own appeal. Also that he has lost weight. Artistic failures and successes cease to have any relative values, since the audience and colleagues are parts of the act and behave as if each effort produced a triumph of absolutely equal and predictable proportions. The thought does occur that "live" audiences are learning the lesson. [Pictured here is the famous handkerchief (see above) taking a bow.]

FINAL QUERY BEFORE LISTENING
TO ALLEGED PAG


How does it happen that a charming and popular lyric tenor, marvelously suited to parts like Edgardo, Alfredo, Faust, and Werther when in peak condition, decides that such roles as Calaf, Canio, Cavaradossi, Manrico, Radames, and Enzo are his Fach at the very time, almost to the hour, that his upper range is losing its juice and open-throatedness? The timing is devilish.


ABOUT C.L.O.

In the interest of full disclosure, I should note that I was the music editor of High Fidelity at the time "The Diary" appeared, and I was the one who asked C.L.O. if he might be interested in reviewing Decca/London's new coupling of Leoncavallo's I Pagliacci and Mascagni's Cavalleria rusticana. He really didn't much want to do music criticism anymore, and in general the things I got him to do involved off-the-beaten-path repertory, operas I either knew he loved (he did, for example, a spectacular piece on Charpentier's Louise) or hoped he might be curious about. Which meant that it had been quite a while since he'd tackled any standard-rep for the magazine.

Jaime Weinman sums it up nicely:
[H]is reviews for High Fidelity represent some of the best criticism ever written about opera, about recording, and above all about singing. As a singer himself (a baritone), Osborne knows an incredible amount about voices and how they work, and manages to convey that knowledge to laymen like me in a way that's enlightening, funny, and fascinating. He's tough--unlike many critics, he never overlooks a vocal flaw or downplays the importance of a singer's bad technique--but he's fair, in that he always gives a singer credit for what he or she does well and never criticizes things that aren't there. His discussions of the works themselves are just as good. I would write more about his superb writing, but then I'd run out of room to quote it.

About all the credit I can claim for the "CavPag Madman" piece is giving C.L.O. the records to review--unless you count getting the thing into print, and getting it into print intact. (In fact, this was no small feat, but that's another story. Okay, if you must know, I had to threaten to quit. I knew it was a weak bargaining chip--the next time I used it, or at the latest the time after that, it was taken not as a threat but as an offer, and accepted--but this time, at least, it worked, more or less.)

I do recall talking to Conrad while he was working on the, er, "review," and being told that it was taking a strange form, which he projected would represent "either a breakthrough in criticism or the final flipping out of C.L.O." (I suggested there was no reason why it couldn't be both.)

I'm going to give the last word here to Jaime, who began his blog post:
If I were in the publishing business, one thing I'd be trying to push through would be a collection of the opera and record criticism of Conrad L. Osborne. (This may guarantee that I'll never be in the publishing business, but let that pass.)

I couldn't agree more, Jaime. I wish I knew how to make it happen.

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