Conlon and Levine Discuss the Instrumentation Of Puccini's Tosca (1978)

James Conlon and James Levine Discuss the Instrumentation Of Puccini's Tosca in 1978.
James Conlon and James Levine point out some very interesting themes in the instrumentation of Puccini's Tosca

[@ibizaking]

Levine owns this opera, like he owns the whole repertoire, the ease he plays the pianoscore, he was not just a conductor. incredible.

[@mrplatink]

There’s much to be said here, but I will say it’s thoroughly engaging to see two professionals deep dive into the most leitmotivic opera Puccini wrote. This is score study, this is score prep, and the richness of the art might only be appreciated best by the artists, but even that is a personal reward for performing the work in any capacity. Maestro Conlon is exactly right about discovering new things each time. That, in a word, is art: finding new things to the same material, revisited, with fresh ears and eyes. We need more deep dives like this into music. Bernstein’s workshops/tv presentations come to mind and we need it back!

[@James_Bowie]

What a fantastic session between two maestros. 👍👍👍

[@nicholasschroeder3678]

Conlin is really and rightly beloved here in LA.

[@co8856]

an anonymous recording of Conlon's vespri siciliani is my favourite.

[@Sacha_Kudli]

5:16 This part of the opera is sooo beautiful and warm . I always get goosebumps in the beginning of Recondita Armonia

[@thomastereszkiewicz2241]

beautiful playing by James Levine.

[@DrDry-qv5my]

He really preferred playing something else...

[@williamoliver8508]

Excelent pianist ♥️ eternal Levine ✨ :'(

[@corneliuswhite5139]

Fascinating!!

[@peteradaniel]

Have you got the rehearsal footage for this performance with Verrett and Pavarotti?

[@hashatz]

Opera, by its very nature, is a dynamic exponent of the Performing Arts. Its main claim to its existence is the fusion of music and text. When we talk about the interaction of people opera becomes Psychodynamic. Yet so little attention is given to this vital component when discussing opera. Example: The accompaniment during the Vissi d'arte beginning with the phrase: "Sempre con fe sincera" and again: "Diedi gioielli della Madonna al manto" is a repetition of the theme that accompanies Tosca's first appearance in Act I. Doesn't anyone pay attention to this fact? Puccini is making a psychological connection between the scenes! Why, and why at this point in the action?! Tosca has pangs of guilt regarding her relations to Cavaradossi that refer specifically to her present plight, at the hands of the lecherous Scarpia. This issue bears attention if we wish to understand the human aspect of Tosca and opera in general.

[@pierregarcia156]

Youpi ! il est choisi.

[@bianchiviolin]

Levine was fantastic musician. It is a pity we had to destroy him for a bit of sexual deviancy.

[@schrire39]

Yeah, we really ought to overlook rape and abuse when it comes to fantastic musicians. In fact, they should get life immunity to make sure that folks like you get to hear the pretty music.

[@snortedthelot7429]

The MET was ready to pay over three million to get rid of him. There was more going on than just 'a bit of sexual deviancy'.

[@spind]

@@schrire39 “Rape”? In what court of law was he convicted, pray tell ?

[@spind]

@@snortedthelot7429 The Met paid him because their “investigative report” looked very bad during discovery

[@schrire39]

@@spind If it makes you happy, read my comment to say “we really ought to overlook allegations of rape” It makes no difference to the substance of my point namely that being a great artist does not grant a permanent free pass in life.