Puccini: Gianni Schicchi
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4. Gianni Schicchi; Opening
5. Gianni Schicchi; Applause & Credits
6. Gianni Schicchi; Avete torto ... Firenze è come un albero fiorito
7. Gianni Schicchi; Prima un avvertimento ... Addio, Firenze
8. Gianni Schicchi; Era uguale la voce?
9. Gianni Schicchi; Datemi il testamento!
10. Gianni Schicchi; O mio babbino caro
11. Gianni Schicchi; Ecco il notaro
12. Gianni Schicchi; Ladro! Ladro!
Top customer reviews
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It's not a patch on the 2004 Glyndebourne production with Alessandro Corbelli in the title role, Sally Matthews (Lauretta) and Massimo Giordano (Rinuccio).
The look and feel of this version seems to waver between a sort of '50(?) Italian setting and a something with mafia overtone. Some very odd stage decisions - like Buoso's will being found in the large pasta pot, complete with cooked pasta - How does that work??
Being a short and very modern style of opera, there's not many standout numbers in any case but they are well worth hearing and very enjoyable when done well: Ranuccio's: Averte torto .. Firenze e come un albero fiorito; O mio babbino caro (done very well here by Andriana Chuchman); Era uguale la voce? and Addio Firenze..
I really look forward to these numbers but only O mio babbino caro delivered in this version. Sadly, the rest were uninspiring.
Maybe it's the sound pick-up recording but the tenor Rinuccio wasn't audible enough to impress.
It was nice to see the backdrop of Florence as part of the set and you would have thought it could have been use to good effect especially in Addio Firenze.
I don't know what Woody Allen brought to this - seems something producer/directors of cinema and theatre want to do now - get an opera under their belt.
In Australia the same mismatch happened with John Bell and his Tosca.
It's certainly worth a look to see Domingo in the role but he's no Corbelli - and if he's honest, he'd admit it too.
Schicchi is probably my favourite Puccini opera - He composed it just after WW1 in that atmosphere of despair following that horrendous and cretinous war that destroyed so much.
It can be done humorously or with a bit of a darker under-current, which I suspect was Puccini's mood and intent. I referred at some length to the Dante connections (pretty clear here as Schicchi makes a brief appearance in the Inferno) in a review I did of the Glyndebourne production.
Otherwise, the production keeps the plot lines clear and has some amusing business.
Other than Domingo, who is first rate, the singers are well chosen for physical type, but none offers really distinguished singing. The young lovers look their parts and deliver their arias with sincerity. Domingo, until the above mentioned "coup" gives a very nice reading of the spoken lines at the end.
Santo Loquasto's stage set and costumes are beautiful.
The whole is well conducted by Grant Gershon.
The sound recording is more than adequate, and the video realization by Matthew Diamond,presumably in collaboration with Allen, is well judged.