Hal

DeRank ™: 9,08

DeAge™ : 8375 days • Here since 6 may 2003

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Michel Petrucciani Oracle's Destiny

16 may 06

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Very beautiful, dense, rich, heartfelt, true this page dedicated to that giant of Petrucciani. Thank you.

Ludovico Einaudi & Ballaké Sissoko Diario Mali

16 may 06

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A lot has been said about Messer Einaudi in these pages; I remember Kurz accusing him of being banal and I tried to defend him, but over time I realized I was listening to him less and less until one day I gave away without regret the double live album he had recorded. Does this mean something? Perhaps I should try listening to this cd. Adiosu

Rita Marcotulli Koinè

16 may 06

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Indeed, Symbad brings attention perfectly to a very beautiful album that could please many here. The review adds (also because I didn’t write much ;)) and then I was pleased to discover some similar judgments on how Koinè's music defies expectations. I had the chance to hear it live twice in recent years and I recommend not to miss her concerts. Also check out triboh with Arto Tuncboyaciyan and Maria Pia de Vito, Symbad :) Bye.

Maurizio Pollini Friedrich Chopin Nocturnes

16 may 06

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But no, Wanderer, it's not a real quarrel; the truth is that Aeneas still hasn't forgiven me for including his review of Puccini among my recommendations :)

Maurizio Pollini Friedrich Chopin Nocturnes

14 may 06

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Dear Enea, honestly, I don’t know what to say to you. The point is your mental attitude, which I don’t share. Wanderer, although he says things you agree with, also shares the risk of generalization. In other words, just listen, that’s all. You keep acting like a piddicosu (do you remember my dear?), and I don’t feel like going down that path. I don’t avoid the questions (even though they’re poorly posed since it’s not just black and white); I believe this discussion has already taken place, and I don’t want to revisit it because I don’t see on the other side that glimmer of reasonableness that could lead me to think I’m not completely wasting my time. Bye :)

Maurizio Pollini Friedrich Chopin Nocturnes

12 may 06

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Ah come on, get a broth of reasonableness before drowning in the simplicity of generalizations that taste so much like populism. Hi :)

Maurizio Pollini Friedrich Chopin Nocturnes

12 may 06

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And about Vito - which I’m only reading now - I’d prefer to skim over it, but if you make an effort to imagine, you’ll arrive at what I thought while reading ;)

Maurizio Pollini Friedrich Chopin Nocturnes

12 may 06

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Well, sometimes I have the impression that you're playing with... regarding the sociological aspect, as I said, we need to be careful not to generalize, which is something that, reasonably, even Wanderer agrees with. Of the two hundred words you’ve spilled in the past, I've given my opinion, and I still think you have a limited view of lyricism; there’s little to dance around it. Then you have your respectable vision, of course, but the closure of what I said back then - that you’re quoting with cut and paste - remains unchanged in its essence for me. Have a good weekend :)

Maurizio Pollini Friedrich Chopin Nocturnes

11 may 06

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And what should I be cashing in, dear? It’s you who’s cashing in poorly. You have a very short memory regarding that discussion about Puccini; like Bondi, you only remember what you want to remember, my dear ;)) Wanderer’s contribution on opera has a "sociological" aspect, which is quite different from what we discussed at the time, as it was fundamentally focused on the complexity of opera. I think you (wrongly) have a partial view of opera when you dwell on the musical aspect, because its structure is more complex. Opera is made as much by music as by performance. The musical aspect is one part, important, but still just one part. Opera is theater. Now, sociologically, this theater, through the actions of opera companies (sometimes questionable as Wanderer rightly points out, although we must evaluate on a case-by-case basis since there’s always the risk of generalizing), has taken on a mere event shape in many Italian cities. That’s a discussion that goes beyond the formal plane regarding the structure of the opera made of music, acting, directing, scenery, costumes, lights, and everything else; viewing it from just one side precludes a comprehensive appreciation of its value. Do you understand now? Bye :D