Franco Faccio: Hamlet (Blu-Ray)

Franco Faccio was Toscanini's immediate predecessor as most important Italian conductor, thoroughly steeped in the operatic repertoire. He conducted the Italian premiere of Verdi's Aida, and later the world premiere of Otello. His librettist here is Arrigo Boito, composer of Mefistofele and Nerone, and librettist of Verdi's Otello and Falstaff and Ponchielli's La Gioconda. So this virtually unknown opera comes from the most brilliant period of 19th century Italian opera, from a composer and librettist who occupied the very highest level of excellence. They were members of the Scapigliatura ("the disheveled") whose goal was to transform Italian opera. This work, in some ways, foreshadows Verismo--certainly there are pages that sound more like Mascagni than Verdi--but in many ways sounds a lot like Verdi. It is a fascinating work with a few genuinely striking numbers, such as the Queen's Closet Scene, which becomes here a trio for soprano, tenor (Hamlet) and the Ghost (basso), and, especially, Ophelia's Funeral March. The production is intelligent, inventive and handsome and the singers all acquit themselves well, although the tessitura of the title role seems inordinately taxing (much like Mascagni's tenor roles later) and not every sound that Pavel Cernoch produces can be truly called beautiful. The production is well captured on film, and the direction is clear and avoids many pitfalls. The plot can be followed easily. I'm not sure this is really a masterpiece, but it is very close to one, and a unique look back. Faccio's main shortcoming here is, alas, the inability to write the really great melody that he is clearly reaching for, and sometimes touches. I played it several times, I liked it better each time, and I will returnto it again.

Yes, this IS a wonderful discovery! Indeed, I cannot think of another opera, previously unknown and unperformed for more than 140 years, that is more deserving of an actual place in the repertory than Faccio's AMLETO--HamletAnd yes, it adheres very closely to Shakespeare's text; indeed, with a librettist like Arrigo Boito, one should expect no less. And it does so magnificently.I think nearly all opera lovers dream from time to time of that unknown gem that all of a sudden springs forth, that is discovered, and truly justifies its revival and entry into the standard bill of major opera houses. If there is such a work, it must be AMLETO, this one. I recall a year or two ago, when I first heard a revival of Otto Nicolai's IL TEMPLARIO (and I reviewed it on Amazon), that I thought Nicolai's work fit that bill...but AMLETO is even more obscure, having succeeded greatly at its premiere in Genoa, but then, at La Scala in 1871, with an ill-disposed tenor, flopped. Faccio withdrew it and never let it be presented again. It lapsed into distant memory, with only his marvelous "marcha funebre" being played during Holy Week on the island of Corfu! And that's where I first ran across any music from it. I was enchanted, and searched the Web, discovering the valiant and determined work of Anthony Barrese to revive it. Those efforts resulted in a new critical edition of Faccio's work, a much-anticipated production at Opera Southwest and, I believe, Opera Delaware, and finally, this superb production by the Bregenz Festival in 2016.On almost every count, this performance justifies and more the revival. Let's look more closely at the Bregenz production.First, the staging is very minimal, but effective. The scene with Hamlet and the ghost of his father seems placed almost next to a shimmering lake, but at the end, it appears that there are sleeping persons, or souls, present, who arise as the ghost disappears. Otherwise, the staging is spartan, but the rich reds and contrasting black emphasize the players, who are dressed traditionally for the most part--no Eurotrash invasions! The dance/balletic scenes are handled well, again, no absurdities.Second, the symphonic and choral work is truly outstanding. The Vienna Symphony (Vienna's second orchestra) is superb, under its director Paolo Carignani. They are joined by the spectacular Prague Philharmonic Choir, who truly excel in the numerous choral scenes. The short preludes/introductions and the magnificent Funeral March and succeeding scene offer a wonderful opportunity for the assembled forces...that march is indeed memorable.Third, the soloists are all uniformly good to extremely good. All were unknown to me; indeed, the text makes note that they are all mostly newcomers. The Hamlet, Pavel Cernoch, must be on stage for nearly the entire two hours and fifteen minutes! And he accomplishes his task tremendously well...still, as a younger dramatic tenor, he still--hopefully--has a full career and more development ahead of him. Ah! But I would have given anything to hear a Jon Vickers or maybe a Mario del Monaco in the role; it would, I think, really fit them...and, given the magnificent score, I can in my mind's ear, hear what they would sound like!The Ofelia, Iulia Maria Dan, is also quite fine; her initial aria and scene, beginning "Principe Amleto!" in Act I, has been excerpted previously, and, again, it would have been wonderful to hear, say, a Mirella Freni singing this affecting "hymn to love."The other cast members, including Dshamilja Kaiser, do not disappoint,and if not quite at the same level, they are all good.The blu-ray disc is fine, good close-ups. For subtitles, you should begin "play" and then select the "subtitle" button on your remote (to get English subtitles).My only complaint is that for such a remarkable and noteworthy release I think more notes and details should have been included. Although blu-rays are limited in space, there should be ideally a site online to access a full libretto (although you can follow the subtitles)AMLETO is entirely stage worthy. Reaching an incredible climax in Ofelia's Funeral March and scene, but with drama and powerful music in each of its four acts, this work would repay productions in the world's major opera houses--are you listening, Covent Garden, the Met, Vienna, and, yes, La Scala? 147 years ago AMLETO was offered there but then disappeared. it's about time to present it again!Highly recommended...an incredible find. Do not pass this by!

Is there a need for operatic versions of Shakespeare's plays? Not really. B-U-T why not? One of the virtues of western opera is that it preserves the western dramatic tradition. Just consider a few examples: Pelleas et Melisande, Rigoletto, Don Carlos, Lulu, and so on. The dramatists represented are Maeterlinck, Victor Hugo, Schiller and Frank Wedekind. Why shouldn't Shakespeare's greatness be enhanced by music and singing. I re-read HAMLET every year, and this opera satisfies me way past my high expectations. The plot complications and large cast are both handledfelicitously. Faccio's libretist was one of the greatest, Arigo Boito. Enough said! Faccio's vocal line serves both the big scenes of action and interaction, but also supports the inward-turning moments which reveal the consciousness andself-talk of human thinkers. Pavel Cernogh not only sings with precision, power and, when needed, tenderness. He is a truly a Hamlet to be admired. Like many other listeners, I was fully delighted and wonderfully surprised to discoverthis opera.

operas based on Shakespeare are interesting to compare with the original

La curiosità di ascoltare questo AMLETO di Faccio era stata per me sempre grande. Questo per il ruolo che Faccio aveva avuto nella vita di Verdi e soprattutto per la sua importanza circa la storia dell'interpretazione verdiana. Questi tentativi di melodramma negli anni di furore verdiano mi hanno sempre attratto ... Poi c'era il libretto di Boito che, a mio parere, è ottimo ... L'ascolto è stato piacevolissimo ... l'opera colta ed interessante e musicalmente e per le soluzioni drammaturgiche ... il quarto atto bellissimo ... la marcia funebre di grande suggestione. Il canto sottolinea le parole e segue il ritmo del dialogo con una ricerca interessantissima di vie nuove ... è vero quello che si dice nel libretto di accompagnamento del dvd (sempre troppo miseri questi supporti; ricordo tantissimi vecchi album di LP con dei veri saggi sull'opera, oltre al libretto completo!): cosa sarebbe sto dell'AMLETO di FAccio senza l'incidente dell'esecuzione scaligera?Il cast appopriatissimo ... brravissimo Pavel Cernoch ... che temperamento e che capacità a reggere un ruolo terribile! Bravo anche Claudio Sgura sia vocalmente che scenicamente ... Iulia Maria Dan una dolce e forte Ofelia ... bellissima la scena della morte. PAolo CArignani tiene tutto in pugno con passione e credendo nella partitura che si vede ha studiato tantissimo ... un plauso per questa fatica ... la regia strana e a tratti incomprensibile ... che significano tutti quegli occhi??? lo sa solo il regista e compagni!!! Mi dico: se uno come me che modestamente ha studiato, studia i testi, conosce bene l'opera di Shakespeare etc non capisce e resta perplesso che penserà il medio spettatore???? Si beve tutto e crede di essere "a la page" ad applaudire ogni astrusa castroneria!!! Sì, il solito teatro nel teatro, i pagliacci, il circo ... boh????Comunque un dvd da prendere e su cui riflettere.

L'ho comprato perché consigliato dalla rivista 'Gramophone', ma risulta piuttosto deludente. In primo luogo, la messa in scena è banale e squallida, e l'impatto della musica (non molto interessante, comunque) è compromesso dal contorno visivo che non l'esalta affatto, anzi; un gran peccato particolarmente quando si tratta di un'opera praticamente sconosciuto. Non sembra che Boito si sia sforzato troppo nel caso di questo libretto, forse anche perché il personaggio dell'intellettuale Amleto, cinico, meditabondo e mai sopra le righe, non si presta bene al genere di opera lirica. L'opera 'Hamlet' di Ambroise Thomas funziona meglio, soprattutto nella versione con la stupendamente pazza Ofelia di Natalie Dessay.

Es ist eine lobenswerte Eigenschaft der Bregenzer Festspiele, dass sie im Festspielhaus jedes Jahr ein vergessenes aber interessantes Werk zur Aufführung bringt.Franco Faccio's Hamlet ist ein solche Glücksfall.Die Aufführung finde ich musikalisch und gesanglich voll gelungen. Und auch die kluge Regie zeigt, dass man modern und sinnvoll ein Werk auf die Bühne stellen kann. Jo

Je ne connaissais ni cet opéra ni ce compositeur. Alors pourquoi acheter ce dvd? Parce que je suis curieuse et parce que j'ai eu la chance d'assister à Bastille au Don Carlos de Verdi, dans la deuxième distribution et que j'ai été conquise par le jeune chanteur, Pavel Cernoch, qui avait la lourde tâche de succéder à J. Kaufmann. Je voulais le voir et l'entendre dans autre chose. Eh bien je ne suis pas déçue: il occupe bien la scène tant par son jeu d'acteur que vocalement et, physiquement, on y croit. Comme son rôle est écrasant (surtout au premier acte) on peut en déduire que Pavel Cernoch mérite d'être mieux connu.Quant à l'oeuvre, je la découvre. La musique est belle mais il me manque d'en connaître quelques passages par coeur pour vraiment l'apprécier. La trame du livret de Boito est sans surprise. Tout le monde connaît l'histoire d'Hamlet! Aimant sortir des sentiers battus et découvrir des oeuvres, je suis satisfaite de cet achat qui a rempli mon double objectif: me permettre de réentendre Pavel Cernoch et me faire découvrir cette musique moins séduisante que celle contemporaine de Verdi. Il me faut ajouter que cette œuvre a été enregistrée en 2016.

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