An obviously tense Bartoli immediately illuminated the theatre with her smile, though her voice needed a little longer to give the audience what they were expecting. The Handel arias went well, Mozart’s Exultate, jubilate even better, and after the interval she was on top form with two Rossini arias. The Willow Song and prayer from Otello was extremely touching, and with Non più mesta from Cenerentola the vocal fireworks shot in all directions.
However, already during the interval, dark forces were at work! At La Scala there exist groups of (mostly) men, many now white-haired, who plot and plan to destroy an opera or an artist’s performance even before entering the theatre. Distributing themselves carefully around the upper galleries, they waited for Bartoli’s last note to die away before booing and whistling which, outside a stadium, expresses an indisputable thumbs-down in Italy. When Barenboim decided to repeat the rondo finale from Cenerentola they started shouting “Poor Rossini”, “Go home”, “Shame on you”, “Not in falsetto this time”, and so on.
Bartoli’s many fans started yelling back and the slanging match continued for five minutes or so. Barenboim put a stop to it by telling everyone to shut up – “This is a concert; tutti zitti!” – and Bartoli got on with her encore. By now a veteran of the stage, she played with the coloratura and indicated her throat as though to say “Now this is hardly falsetto!” to the handful of booers and thousands of cheerers. The applause was overwhelming.
Bartoli certainly won, but it sort of ruined the party. Bartoli and Barenboim were having such fun together, and the audience was delighted to be in their company. Except for the old men who, sadly, can’t get to grips with the idea that, as Callas is never going to return to this theatre, they ought just to stay at home and play their worn-out LPs.
Italy’s most important newspaper, Il Corriere, reported that someone called out “Vergogna in tempi di crisi!” (Shame on you in this time of crisis!) referring to Bartoli’s high fees. However Gramilano heard “Povera Grisi” in response to “Povero Rossini”, referring to a group of opera ‘fans’ who call themselves after the great Milanese opera singer Giulia Grisi (the first Adalgisa in Bellini’s Norma, Elvira in Bellini’s I puritani and Norina in Donizetti’s Don Pasquale). This group apparently organises booing sessions at La Scala by telephone on the morning of a performance, and then goes and queues for the cheap day tickets. I wonder if I heard correctly…
Reuters news agency posted an interview with Cecilia Bartoli on 27 December,
Your concert recital earlier this month singing Handel, Rossini and Mozart with Daniel Barenboim conducting at La Scala in Milan, with a chorus of boos and whistles in the second half, was perhaps less of a success?
This story is repeating what happened to Carlos Kleiber, one of the greatest conductors of our lives, also to (Maria) Callas, (Luciano) Pavarotti. The concert was magnificent – Handel, Mozart, Rossini – and then I believe at the very end there was a very Fellinian situation. You think these things don’t happen anymore, that they only happen in the movies of (Federico) Fellini but actually, no, this is happening. And it seemed like a parody but the next morning I opened the newspaper and (Silvio) Berlusconi is back (in Italian politics). And so I said, ‘Yes, of course.’
I think living in Italy is difficult but living without Italy is impossible.