Fabrizio Meloni

🙂 Italy-Belcanto > Barenboim and La Scala >
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http://www.teatroallascala.org/en/stagioni/2009_2010/concerti/invitoallascala/Meloni_Barenboim_Rizzi_Rossi_Persichilli.html
Invitation to La Scala
F. Meloni, M. Barenboim, M. Rizzi, D. Rossi, A. Persichilli
April 2010: 19 (15:00)
With
Fabrizio Meloni: clarinet
Michael Barenboim: violin
Marco Rizzi: violin
Danilo Rossi: viola
Alfredo Persichilli: cello
Programme
Wolfgang Amadeus Mozart: Quintet in A maj. K 581 “Stadler” for clarinet and string quartet
Johannes BrahmsQuintet in B min. Op. 115 for clarinet and string quartet

Concertistica: esordio ricordando Mauro Moruzzi Dec 14, 2009 / By E-Cremonaweb
Concert: onset recalling Mauro Moruzzi
The Clarinet Quintet by Mozart and Brahms on Monday inaugurated 14 December (20.30) – in memory of Mauro Moruzzi clarinetist Cremona – the 2009-10 concert season of the Teatro Ponchielli in Cremona.
It will be interpreted, with the clarinetist Fabrizio Meloni, violinists Marco Rizzi and Michael Barenboim, violist and cellist Alfredo Danilo Rossi Persichilli (see photo).
Two absolute masterpieces of the chamber literature, the Quintet for Clarinet and Strings in A major K 581 by Wolfgang Amadeus Mozart and the Quintet for Clarinet and Strings in B minor, Op. 115 by Johannes Brahms, constitute the program of the opening night of the 2009-10 concert season of the Teatro A. Ponchielli of Cremona.
The program has been specifically chosen to remind Mauro Moruzzi, clarinetist, organizer and teacher of music who recently passed away ten years ago.
The memory of the versatile musician from Cremona, whose memory is still alive in the city, was assigned to five major instruments, starting from Fabrizio Meloni, clarinet soloist in the first Philharmonic of La Scala since 1984, considered one of the best clarinetists of our time.
At his side Marco Rizzi, violinist “surprising honesty and maturity” (roads), awarded in three most prestigious competitions – the Tchaikovsky in Moscow, the Queen Elisabeth Violin Competition in Brussels el’Indianapolis, so Michael Barenboim, violin first with prestigious orchestras such as the Gustav Mahler Youth Orchestra and the Vienna Philharmonic Orchestra, Danilo Rossi, principal viola soloist in the Philharmonic’s Scala since he was 20 years, and Alfredo Persichilli first cello in the same orchestra, soloist and chamber musician of international fame.
Is the price of tickets: the stalls and boxes € 17,00 – gallery € 10,00 —
gallery € 7.00. Reservations can be made to the ticket in the usual hours
Opening (10.30-13.30 and 16.30-19.30), tel. 0372.022001 and 0372.022002.
Fondazione Teatro A. Ponchielli
Corso Vittorio Emanuele, 52
26100 CREMONA
Tel 0372.02.2010 – 0372.02.2011
Fax 0372.02.2099
Ticket (10.30-13.30 hours and 16.30-19.30) 0372.02.2001 and 0372.02.2002
mailto: info@teatroponchielli.it

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Please check
🙂 From Italy-Belcanto > Barenboim and La Scala
🙂 RAI: è tutt’ora impossibile poter trasmettere in diretta televisiva una qualsiasi opera teatrale italiana (Dec 2-5, 2009)
RAI: IF YOU WANT TO WATCH IT…

DECEMBER 7, 2009

(…this part will be deleted after… I don’t want to make this part dirty… perhaps, I should make it an independent section under his name…)

So… the Clarinet Principal, Fabrizio Meloni, didn’t give up, did he? I am now suspecting if this is Milan Mayor or La Scala’s President Letizia Moratti’s plot to get rid of Barenboim.

Please check [00:22:00].
This bassoon is better than Berlin but still not perfectly in-tuned. Why do you think so? Who is sitting next to him? Then this Clarinet is destroying everything. It sounds harder than his normal tone… (Is he now thinking about following his ensemble… after my report of his joining Bashkirova’s sh*t?)… yet it still sounds “들떠있다”… and always in wrong-tuned whenever it sounds part of ensemble or part of harmony. It only pretends to sound in-tuned at the last moment when its solo-melody is hooking up its last note to the bassoon’s staring point. This is the most disgusting ensemble technique. All those clarinet sh*ts, staring from the Korean ones, did this when I openly analyzed and insulted their trash behaviors. So how does their present performance sound like? EVERYBODY came out to protect those clarinet sh*ts and now… Whoever conducts, the orchestra itself sounds hopeless, and the ENTIRE wind section or even the strings need to be fired, and it started from ONE member. Did he press his reads to match his bassoon? Why don’t you ask his flute why his tuning system was not enough stable despite the fact that he was sitting right in front of violin section? I am curious. Has he used to play for Flute’s head/ears in order to rule over his woodwind section?

Please check [00:27:00].
Not surprisingly, Flute is starting with more comfortable tune. After Flute, Clarinet is following with Each-Note-With-Different-Tuning-System… just like BPO’s Ex-Solo Karl-Heinz Steffens. The most inferior member among the entire woodwind section. While listing to this f*cking clarinet, the horn section should join this ensemble with a perfect-tune at [00:28:00] and should add more flavor to its string section resulting in its richer color. If not, this horn’s out-of-tuned-ensemble hurts the audience’s ears enough to be fired at the request of ticket-buyers. Then, this horn section should be replaced by more-inferior-sounding performers. I am pretty sure that the audience appreciated this performance more because of his darker, mellower tone, which is his trademark being a Solo Clarinet of La Scala.

Please check [00:50:30].
The ensemble suddenly turned into trash and I had to re-play and find the right spot. This totally out-of-tuned clarinet resumes his job. After this clarinet, his bassoon couldn’t forget his achievement and now suddenly sounds cheaper… just like BPO’s Bashkirova’s Italian Bassoon. Right? Unlike the previous work, orchestra is listening to the Piano, and the clarinet never cares about this.

Please check [stage-rehearsal].
Is this clarinet appearing in RED, too? What’s wrong with him? I think this is the only one in RED during this show. Is this guy now mentally ill? Now, I think that f*cking clarinet during Waltraud Meier’s Isolde 2007 was also this one. Thanks to his achievement, La Scala sounded dull, cheap second-rate opera orchestra. Who said that it was the best opera orchestra in the world?

Days ago, I promised to Milan Mayor or La Scala’s President Letizia Moratti that if this sh*t appears in Barenboim’s recording project, starting from Carmen 2009, and his clarinet section comes out of protecting this one, his whole section will be fired. And this sh*t ignored my warning? Fine. I hear that this musician is now working real hard toward his hard-tone, and it simply doesn’t work out. And I can hear which members will be happier and be appreciated more by audience whenever this clarinet returns to his usual sound with free-tuning-system and leads his whole ensemble… especially during symphony works. According to his charismatic face, I know this musician will never give up. Next time, he should prove brighter, fuller and warmer sound to match Barenboim’s Milan Strings… and with a proper-tuned ensemble technique. If this sh*t appears again with THIS SOUND and destroys everything again, ALL the wind members, who followed this clarinet will be fired. Remember? Younger performers always play better. Already now, there are orchestras elsewhere, which start to find proper clarinet soloist. Sooner or later, they will sound better than La Scala.

(…this part will be deleted after… I don’t want to make this part dirty… perhaps, I should make it an independent section under his name…)

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Un clarinetto lariano per aiutare l’Abruzzo Nov 3, 2009 / By Corriere di Como
(…) He has authored fifteen “first” at La Scala in Milan, in whose orchestra is first clarinet soloist since 1984. As he performs for the debut of Carmen of 7 December with the director Daniel Barenboim (…) We’ll soon be on tour in Spain, but we would take many other dates in Italy. (…)

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WORKING… on previous writings…

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