You thought that pass over in silence the Valkyrie on the Scale? Mais non, parbleu ! The fact is that I was able to listen only on the day of St. Stephen, in reply to Rai5 providential. Before I had to settle for a few clips on YouTube, however, that already gave an idea of \u200b\u200bhow the evening went, from the infamous Barneboim appeal in defense of Italian culture with the spell of fire Brünnhilde who becomes the lamp. On YouTube, among other things, a noted commentator on the web shocked that the winds were not as sharp as those of the Met under the guidance of Levine ... with the moonlight that there are around here - one might venture - is already so long that the orchestra does not Facciani trumpet with unconventional instruments ... However, if the quality of the winds Americans do not even discuss (it's tradition) it is true that the Italians would have set a Oricalco dovuto averla (come pure, ma per altre ragioni, quel violinista che in prima fila ruminava vistosamente il chewingum: non lo permetto ai miei alunni, figurarsi se lo ammetto alla Scala).
Quanto all'interpretazione e alla caratura dei cantanti, mi trovo sostanzialmente d'accordo con Daland nel suo sempre denso e arguto blog Proslambanomenos. Sentendo Siegmund viene davvero voglia di gridare "Aridatece l'Heldentenor!", però il resto della compagnia tiene bene e la musica, be', la musica è maledetta: ti seduce e ipnotizza inchiodandoti alla poltrona in barba alle magagne, smuovendo tutti i sentimenti e le emozioni in dotazione al genere umano. C'è l'amore, quello viscerale, che riscatta l'esistenza più mutually complementary in the dark, there's revenge, resentment, fear, the conflict between necessity and mercy ... All this makes the Valkyrie episode perhaps more human whole tetralogy. And it's all a crescendo, the storm that opens the play to the poignant farewell to the beloved daughter of the god Wotan. The magic of fire that surrounds his body is one of the miracles of music history ...
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