#gardelli

[stilouniverse]

Iacopo Gardelli "L'Alsìr. Romanzo balneare", Fernandel Editore

In libreria dal 24 marzo Pagine 220, prezzo 15 euro Fernandel Editore «In spiaggia è impossibile perdersi: ci si perde in pineta, si scompare nel mare, ma in spiaggia si vede sempre tutto, la spiaggia è un posto dove ci si vede». L’Alsìr è uno stabilimento balneare della riviera romagnola. È qui che, a partire dagli anni Novanta, due famiglie di diversa estrazione sociale si ritrovano…

[princesssarisa]

Opera on YouTube 5

Nabucco

Teatro alla Scala, 1987 (Renato Bruson, Ghena Dimitrova; conducted by Riccardo Muti; no subtitles)

Teatro di San Carlo, 1997 (Renato Bruson, Lauren Flanigan; conducted by Paolo Carognani; no subtitles)

Ankara State Opera, 2006 (Eralp Kıyıcı, Nilgün Akkerman; conducted by Sunay Muratov; no subtitles)

St. Margarethen Opera Festival, 2007 (Igor Morosow, Gabriella Morigi; conducted by Ernst Märzendorfer; English subtitles)

Rome Opera, 2011 (Leo Nucci, Csilla Boross; conducted by Riccardo Muti; English and German subtitles)

Teatro Comunale di Bologna, 2013 (Vladimir Stoyanov, Anna Pirozzi; conducted by Michele Mariotti; Italian subtitles)

Rome Opera, 2013 (Luca Salsi, Tatiana Serjan; conducted by Riccardo Muti; no subtitles)

Gran Teatro Nacional, Perú, 2015 (Giuseppe Altomare, Rachele Stanisci; conducted by Fernando Valcárcel; Spanish subtitles)

Metropolitan Opera, 2017 (Plácido Domingo, Liudmyla Monastyrska; conducted by James Levine; Spanish subtitles)

Arena di Verona, 2017 (George Gagnidze, Susanna Branchini; conducted by Daniel Oren; English subtitles)

La Cenerentola (Cinderella)

Jean-Pierre Ponnelle studio film, 1981 (Frederica von Stade, Francisco Araiza, Paolo Montarsolo; conducted by Claudio Abbado; English subtitles)

Glyndebourne Festival Opera, 1983 (Kathleen Kuhlmann, Laurence Dale, Claudio Desderi; conducted by Donato Renzetti; no subtitles)

Salzburg Festival, 1988 (Ann Murray, Francisco Araiza, Walter Berry; conducted by Riccardo Chailly; English subtitles)

Tokyo Bunka Kaikan, 1991 (Lucia Valentini-Terrani, Toshiro Gorobe, Domenico Trimarchi; conducted by Antonello Allemandi; Japanese subtitles) – Act I, Act II

Houston Grand Opera, 1995 (Cecilia Bartoli, Raúl Giménez, Enzo Dara; conducted by Bruno Campanella; no subtitles)

Rossini Opera Festival, 2000 (Sonia Ganassi, Juan Diego Flórez, Bruno Praticó; conducted by Carlo Rizzi; Italian subtitles)

Gran Teatre del Liceu, 2008 (Joyce DiDonato, Juan Diego Flórez, Bruno de Simone; conducted by Patrick Summers; German subtitles)

Romeo Opera, 2015 (Serena Malfi, Juan Francisco Gatell, Alessandro Corbelli; conducted by Alejo Pérez; Italian and English subtitles)

Lille Opera, 2016 (Emily Fons, Taylor Stayton, Renato Girolami; conducted by Yves Parmentier; English subtitles)

Boboli Gardens, Florence, 2020 (Svetlina Stoyanova, Josh Lovell, Daniel Miroslaw; conducted by Sándor Károlyi; no subtitles)

Lucia di Lammermoor

Tokyo Bunka Kaikan, 1967 (Renata Scotto, Carlo Bergonzi; conducted by Bruno Bartoletti; English subtitles)

Mario Lanfranchi film, 1971 (Anna Moffo, Lajos Kosma; conducted by Carlo Felice Cillario; English subtitles)

Bregenz Festival, 1982 (Katia Ricciarelli, José Carreras; conducted by Lamberto Gardelli; no subtitles) – Part I, Part II

Opera Australia, 1986 (Joan Sutherland, Richard Greager; conducted by Richard Bonynge; English subtitles)

Teatro Carlo Felice, 2003 (Stefania Bonfadelli, Marcelo Álvarez; conducted by Patrick Fournillier; Japanese subtitles)

San Francisco Opera, 2009 (Natalie Dessay, Giuseppe Filianoti; conducted by Jean-Yves Ossonce; English subtitles)

Amarillo Opera, 2013 (Hanan Alattar, Eric Barry; conducted by Michael Ching; English subtitles)

Gran Teatre del Liceu, 2015 (Elena Mosuc, Juan Diego Flórez; conducted by Marco Armiliato; French subtitles)

Teatro Real de Madrid, 2018 (Lisette Oropesa, Javier Camerana; conducted by Daniel Oren; English subtitles)

Vienna State Opera, 2022 (Lisette Oropesa, Benjamin Bernheim; conducted by Evelino Pidó; English subtitles)

Il Trovatore

Claudio Fino studio film, 1957 (Mario del Monaco, Leyla Gencer, Fedora Barbieri, Ettore Bastianini; conducted by Fernando Previtali; English subtitles)

Wolfgang Nagel studio film, 1975 (Franco Bonisolli, Raina Kabaivanska, Viorica Cortez, Giorgio Zancanaro; conducted by Bruno Bartoletti; Japanese subtitles)

Vienna State Opera, 1978 (Plácido Domingo, Raina Kabaivanska, Fiorenza Cossotto, Piero Cappuccilli; conducted by Herbert von Karajan; no subtitles)

Opera Australia, 1983 (Kenneth Collins, Joan Sutherland, Lauris Elms, Jonathan Summers; conducted by Richard Bonynge, English subtitles)

Metropolitan Opera, 1988 (Luciano Pavarotti, Eva Marton, Dolora Zajick, Sherrill Milnes; conducted by James Levine; no subtitles)

Bavarian State Opera, 2013 (Jonas Kaufmann, Anja Harteros, Elena Manistinta, Alexey Markov; conducted by Paolo Carignani; English subtitles)

Temporada Lirica a Coruña, 2015 (Gregory Kunde, Angela Meade, Marianne Cornetti, Juan Jesús Rodriguez; conducted by Keri-Lynn Wilson; no subtitles)

Opéra Royal de Wallonie-Liége, 2018 (Fabio Sartori, Yolanda Auyanet, Violeta Urmana, Mario Cassi; conducted by Daniel Oren; French subtitles)

Arena di Verona, 2019 (Yusif Eyvazov, Anna Netrebko, Dolora Zajick, Luca Salsi; conducted by Pier Giorgio Morandi; German subtitles)

Teatro Verdi di Pisa, 2021 (Murat Karahan, Carolina López Moreno, Victória Pitts, Cesar Méndez; conducted by Marco Guidarini; no subtitles)

[uominiedonneblog]

Uominiedonne Beatrice Valli :"mi merito anche di più" , il web insorge, Karina Cascella molto arrabbiata

#uominiedonne C'è stato un duro scontro e anche abbastanza inatteso sul Web che ha visto come protagoniste Beatrice Valli e Karina Cascella , la prima aveva partecipato ad un poadcast con Elena Gardelli nel quale fra le altre cose aveva detto "mi merito

E adesso dedichiamo ancora una volta questo articolo a Beatrice Valli investita nuovamente ancora da un mondo di polemiche. La Ragione? Alcune dichiarazioni della stessa all’interno del podcast The Roulette Talk che hanno dato il là alla reazione indignata di molti, fra le quali troviamo anche qualche personaggio illustre come Karina Cascella. Che non ha certo lesinato apre critiche…. Nel…

[allthingsdarkanddirty]

HOT NEW RELEASE

We are excited to celebrate KISMET by Carly Phillips is LIVE!

#1ClickHere

Also available in Audio - Narrated by: Pippa Jayne & Eric Michael Summerer

Time has changed the girl he left behind—and the sexy woman won’t fall into his bed so easily.

Lissa Gardelli’s journalism career is about to take a big leap forward, thanks to scoring an interview with Wall Street wonder, Trevor Dane. There’s just one hurdle: keeping her identity a secret until she gets in the door.

Trevor Dane has arrived—corner office, seven-figure income, and women at the snap of his fingers. A profile piece in the News Journal is just icing on the cake. Until he lays eyes on his interviewer, the high school sweetheart who’s haunted his dreams for ten long years.

The sparks between them still burn, and business quickly ignites into pleasure. But Lissa is keeping one last secret…one that could either solidify their reunion, or drive them apart—for good.

Note: Kismet was previously published under the title Suddenly Love by NYT bestselling author Carly Phillips. Contains a woman who’s clawing her way up from the bottom, a high-powered broker at the top of his game—and one little secret he never saw coming.

#newbookalert #lovereading #bookcommunity #reading #bookish #romancenovels #booknerds #bookishlove #mustread #ebooks#wildfiremarketingsolutions

[joyffree]

KISMET Small Town Workplace Romance by Carly Phillips

Time has changed the girl he left behind—and the sexy woman won’t fall into his bed so easily.

Lissa Gardelli’s journalism career is about to take a big leap forward, thanks to scoring an interview with Wall Street wonder, Trevor Dane. There’s just one hurdle: keeping her identity a secret until she gets in the door.

[kellysbookblog]

KISMET

Carly Phillips

Release Date: February 24

My GR REview: https://www.goodreads.com/review/show/5362691128?book_show_action=false

My Amazon Review: https://www.amazon.com/review/R32XXSFH74PYLB/ref=pe_1098610_137716200_cm_rv_eml_rv0_rv

 Time has changed the girl he left behind—and the sexy woman won’t fall into his bed so easily. Lissa Gardelli’s journalism career is about to take a big leap forward, thanks to scoring an interview with Wall Street wonder, Trevor Dane. There’s just one hurdle: keeping her identity a secret until she gets in the door. Trevor Dane has arrived—corner office, seven-figure income, and women at the snap of his fingers. A profile piece in the News Journal is just icing on the cake. Until he lays eyes on his interviewer, the high school sweetheart who’s haunted his dreams for ten long years. The sparks between them still burn, and business quickly ignites into pleasure. But Lissa is keeping one last secret…one that could either solidify their reunion, or drive them apart—for good. Note: Kismet was previously published under the title Suddenly Love by NYT bestselling author Carly Phillips. Contains a woman who’s clawing her way up from the bottom, a high-powered broker at the top of his game—and one little secret he never saw coming.

 Buy Link:

https://www.carlyphillips.com/books/kismet/#purchaselinks

Also available in Audio - Narrated by: Pippa Jayne & Eric Michael Summerer

 Meet Carly Phillips:

NY Times, Wall Street Journal, and USA Today Bestseller, Carly Phillips gives her readers Alphalicious heroes to swoon for and romance to set your heart on fire. She married her college sweetheart and lives in Purchase, NY along with her three crazy dogs: two wheaten terriers and a mutant Havanese, who are featured on her Facebook and Instagram. The author of 50 romance novels, she has raised two incredible daughters who put up with having a mom as a full time writer. Carly’s book, The Bachelor, was chosen by Kelly Ripa as a romance club pick and was the first romance on a nationally televised bookclub. Carly loves social media and interacting with her readers. Want to keep up with Carly? Sign up for her newsletter (below) and receive TWO FREE books at www.carlyphillips.com.

 Connect with Carly Phillips:

https://linktr.ee/carlyphillips

 Easy Copy/Paste Social Media Posts

Facebook:

🔥🔥HOT NEW RELEASE🔥🔥

We are excited to celebrate KISMET by Carly Phillips is LIVE!

#1ClickHere

https://www.carlyphillips.com/books/kismet/#purchaselinks

Also available in Audio - Narrated by: Pippa Jayne & Eric Michael Summerer

 Time has changed the girl he left behind—and the sexy woman won’t fall into his bed so easily. Lissa Gardelli’s journalism career is about to take a big leap forward, thanks to scoring an interview with Wall Street wonder, Trevor Dane. There’s just one hurdle: keeping her identity a secret until she gets in the door. Trevor Dane has arrived—corner office, seven-figure income, and women at the snap of his fingers. A profile piece in the News Journal is just icing on the cake. Until he lays eyes on his interviewer, the high school sweetheart who’s haunted his dreams for ten long years. The sparks between them still burn, and business quickly ignites into pleasure. But Lissa is keeping one last secret…one that could either solidify their reunion, or drive them apart—for good. Note: Kismet was previously published under the title Suddenly Love by NYT bestselling author Carly Phillips. Contains a woman who’s clawing her way up from the bottom, a high-powered broker at the top of his game—and one little secret he never saw coming.

 #newbookalert #lovereading #bookcommunity #reading #bookish #romancenovels #booknerds #bookishlove #mustread #ebooks #wildfiremarketingsolutions

[james-nilsen-misra-film]

BAYER from James Nilsen-Misra on Vimeo.

James Nilsen Misra Set Decoration @james_nilsen_misra_film Dir.:Floyd Russ @floyd_r DoP:@zackspiger Prod Design.:Louise Knepscheld Props Masters:Candice Borzekowski, Julia Grigoratos Props Chanel Fivaz @creative_set_style Wardrobe:@karlienseegers Hair:@iamcarlisaacs Make-Up:@lisabaileymua Edit:Stacy Peterson @laikasp Stills:@alexasingertravelliscious

Actors:Farmer:@jandrelerouxactor. Bike Sc.:@dylanedy, Jodi Rose Maylam. Scientists: @suecarowhite & Thane Williams @thanedanger. Ultrasound: @carishmabasday, Tyrel Meyer @tyreltyrel1950, @tarrynsteyn

Agency:Campbell Ewald NY @campbellewald US Chief Creative Officer:@silmobonomi Exec. Creative Dir.:@chiprich Exec. Creative Dir.: Jorge Moya Managing Dir.:Carla Trum Mercado VP, Group Account Dir.:Lorena Velez Senior Art Buyer:Hillary Jackson Agency Producer:Nicole Euell @nikkinyce Project Mngr:Michael Schlachter @schlac_ter Assoc. Dir., Brand Strategy:Tamara Gardellis @tmgardellis CEO:Kevin Wertz

Campaign:This Is Why We Science Advancing Health & Humanity Brand:Bayer @bayerofficial Advertiser:Bayer AG Head corp. Brand & Reputational management:Uwe Schmidt Gbl Brand Dir.:@duncanianson Gbl Brand Mngr:Michael Milch Acc. Mngr Seminis:Olav Lange Brand Mngr:Yolandi Stoltz President, Consumer Health:Heiko Schipper Territory Mngr KZN:GP Van Den Berg @gpvdb Dir. Gbl Strategic Marketing:Claus Dr. Albrecht Gbl Strategic Marketing Dir.:Julia Peschanel @jpberlin, Dr. Stephanie Schermuck-Joschko CEO:Werner Baumann

Prod. Co.:Tool of North America @toolofna Senior Exec. Producer:Laura Macauley @lingerginger EP:Rob Sexton @rbsex10 Producer:Patrick Malloy Editorial:@cutandrunedit Telecine:The Mill @millchannel Colorist:Mikey Rossiter @mikolour Audio Post:@heardcity Engineer:Philip Loeb @linushuey, Evan Mangiamele @badbabyusa Music:@musicandstrategy + @marmosetmusic

Prod. Co.:@mrfilmsa EP:Earl Redcliffe @earlredcliffe EP:Ken Mckenzie Head of Prod.:Kabelo Seane Producer:Brad Logan @birdlogan First Assist. Dir.:Gabriel Williams Prod. Mngr:Dominic Karayiannis @dominickara Stills Manager:Layla Walters @elev8life_layla Prod.Coordinator:@amandamatutu Researcher:@evebeukes Financial Mngr:@ianvanriel Prod. Assist.:Genade Stills Assist.:@seanfurlonger.studio

[maximuswolf]

100 Celsius water does not produce the best light roast brews (My favorite V60 recipe from Japanese roasters!)

100 Celsius water does not produce the best light roast brews (+My favorite V60 recipe from Japanese roasters!) Dear Coffee lovers, I have something on my mind. For a long time now I have been struggling with the claim, especially proposed by you know who, that boiling water is the best way to go for light roasts. I personally really love light roast, even on the edge of underdeveloped characteristics. And since I moved to Japan and tried out Tokyo‘s top roasters (Leaves and Glitch), I repeatedly got recommended to brew in the range of 85-93 degrees. And it produced absolutely delicious coffee. I tasted brews at 86C and 100C side by side and the difference is very clear. 100C brewed coffee has way more flaws and tastes muddy and slightly bitter in the background. The 86C is the clear winner. Countering this issue by going coarser made things interesting. The coffee is now equally clear and slightly more acidic (in a good way), but lacks complexity in comparison. I have no tried this experiment with a variety of coffees (Man vs Machine, Gardelli, Glitch, Leaves… all light roasted, mostly high grown or Costa Rican Coffee).Also, I took a look at the impact of water. I usually brew fancy coffees with selfmade water matching SCA specifications (Barista Hustle’s Recipe). The differences described above are most significant with this water. Bottled and tap water (both have a higher ion content) reduces these differences but they are still noticable.My conclusions now are: Whenever I brew with a suboptimal setup (no temperature controlled (pouring) kettle, bad water…), I mostly stick to JH recipe principles. But if I really want to brew a phenomenal cup, I brew at lower temps, usually utilizing the coffee recipe from Glitch Coffee Roasters (Tokyo).I have really thinking hard about the reason for my experiences not matching with the recommendations of some professionals. I think, that this is due to my grinder. The comparatively high amount of fines produced by conical burr grinders might get especially overextracted at high temperatures. Let‘s discuss this thought!Here‘s the recipe, if you wanna try it out15g grounds medium-fine (21/22 on Commandante) 260g water (SCA / soft water) Hario V601) pre-heat brewer by your preferred method, rinse paper filter (OG, japan-made Harios) 2) add coffee, create a little pit in the middle 3) 50g water, slowly 4) immediately stir to get grounds wet. Don‘t swirl / stir too hard, you don’t want to extract the coffee in this phase 5) wait until 45s, 1 minute for very fresh coffee** 6) add 160g water (total=210), pour relatively slowly, kettle spout approx. 3-4cm from the slurry surface 7) slight swirl to even out the bed, do not stir in the cone to avoid knocking down fines stuck to the filter which would increase the brewing time massively 8) wait for drawdown 9) add 50g (total=260), slight swirl and wait 10) done! Submitted December 22, 2022 at 12:41AM by harpharpharpy https://ift.tt/uBpJqja via /r/Coffee

[uominidimondo]

22a Adunata degli Uomini di Mondo nel nome di Buffalo Bill Sfilata con canti, balli, distribuzione cornetti portafortuna e premio UdM dell'anno a Piergiorgio Odifreddi

CUNEO - Ritorna, in concomitanza della Fiera del Marrone, la 22a Adunata Nazionale degli Uomini di Mondo, dopo un anno particolarmente attivo per l'associazione che ha visto la posa della statua lignea in onore degli Alpini della Caserma Vian, la partecipazione alla 69a Adunata dei Bersaglieri e il lancio del modellino riproducente il pullmino diventato il logo viaggiante degli Uomini di Mondo. L'Associazione, nata nel 1998 prendendo spunto da una frase pronunciata dall'attore napoletano Antonio de Curtis in arte Totò in numerosi suoi film: "Sono un uomo di mondo, ho fatto il militare a Cuneo", riunisce tutte le persone che anche per un solo giorno hanno prestato servizio militare o civile nella nostra Provincia. Sono più di 15.000 i tesserati, a cominciare dalla nipote di Totò, Elena Anticoli de Curtis, fino al Presidente Mattarella, capo delle Forze Armate, venuto in missione sul nostro territorio. L'associazione, presieduta da Danilo Paparelli insieme a Domenico Giraudo, Antonio Santullo, Ezio Cavallo, Alessandro Gardelli e con la collaborazione di Viviana Bessone e Francesca Quaranta, in questa edizione andrà a celebrare un altro storico personaggio che abbia  le caratteristiche per essere denominato "Uomo di Mondo" a tutti gli effetti, com'è stato fatto in precedenza per altri celebri militari, da Giuseppe Garibaldi a Napoleone, da Annibale a Cherles de Batz de Castelmore conte d'Artagnan, che hanno avuto relazioni con la nostra città o provincia. Quest'anno il comitato scientifico composto dal Direttivo stesso e coadiuvato da Flavio Russo, Roberto Marengo e Paolo Leone, ha lavorato a lungo per individuare una personalità nota che possa fregiarsi dell'ambito titolo di "Uomo di Mondo" e sì è concentrata in un settore militare finora inusuale tra i tesserati, quello dell'esercito degli Stati Uniti che in passato ha avuto contatti con la nostra provincia. Tutto nasce dal passaggio del treno speciale del Circo Americano di Buffalo Bill, con sosta alla stazione di Bra, come fu annunciato da “L’Eco della Zizzola” qualche giorno prima dell'evento, certo esagerando un po’ nel prevedere uno spettacolo locale con cinquecento persone, tra cui cento pellerossa, settantacinque cannibali, ventotto antropofagi e ben mille cavalli. Così recitavano le pubblicità di allora. Fatto sta che il lungo convoglio, nel 1906, era in tournée in Piemonte, e per la Provincia Granda doveva per forza transitare a causa della tortuosità della rete ferroviaria dell’epoca, che poi, è ancora quella odierna. I soliti invidiosi, gli eterni bastian contrari, negarono, in seguito, la sosta a Bra del celeberrimo colonnello. Ma la prova inconfutabile è che la liquoreria del Sindaco Dr. Bianchi, celebrò l’avvenimento con la distribuzione di un vassoio recante l’immagine dell’eroe il cui nome era stato dato, immediatamente, al Bitter della Casa ( del vassoio rimangono pochissimi, preziosi esemplari). Era la notizia del secolo: il Circo stava girando l’Italia con enorme successo, tanto che a Torino presenziarono allo spettacolo anche i Reali. William Cody, nato a Le Claire ( Iowa) nel 1846, aveva esordito come Pony Express a 15 anni, per arruolarsi poi nel gloriosissimo “Settimo Cavalleggeri”. Ingaggiato quindi dalla Union Pacific, procurò carne di bisonte, o “buffalo”, per gli operai che costruivano la ferrovia trans-americana: al suo fucile aveva dato il tremendo nome di “Lucrezia Borgia”. Fu ancora deputato del Nebraska, guida del “Quinto Cavalleggeri” e vendicatore del generale Custer. Infine, i tempi cambiavano, William Cody, diventato il leggendario Buffalo Bill, si trasformò in impresario teatrale, arruolando cowboy e indiani (personaggi ormai archiviati dalla Storia ma in attesa della loro riscoperta da parte del Cinema) per portare in giro per l’America e l’Europa il ricordo dell’epopea che va sotto il nome di “Conquista del West”. Morì nel Colorado, nella Denver che avrebbe fatto da fondale per tanti film western. In Italia, negli anni ’50 e ’60, il settimanale ‘L’intrepido’ gli dedicò una lunga storia a fumetti allora seguitissima. Pertanto, ai sensi del suo passaggio trionfale per la città di Bra, quindi per la provincia di Cuneo, viene proclamato il Colonnello William Cody, il mitico Buffalo Bill, il Personaggio di Mondo 2022.  L'adunata prevista per Domenica 16 ottobre col tradizionale appuntamento alle ore 10.00 in Piazzetta Totò di fianco al Teatro Toselli, si avvarrà di questo personaggio straordinario  che attraverso le sue avventure ha fatto sognare intere generazioni di appassionati del genere western. Accompagnati dalla Fanfara Buccaresi e anche da una consistente delegazione di Finanzieri giunti da tutt'Italia raggruppati dal Maresciallo Silvio Boi che festeggiano i 30 anni dal 67° Corso Sottufficiali "Frejus II" tenutosi a Cuneo, col tradizionale folclore del gruppo I Melannurca di Torino percorrerà Via Roma per giungere in Piazza ex Foro Boario, dove non mancheranno sorprese e nuovi gadget per chi vorrà partecipare all'iniziativa. Tra questi, uno che in questi tempi particolarmente funestati da pandemie, guerre, crisi economiche e ambientali, verrà sicuramente apprezzato da tutto il pubblico. Si tratta del classico cornetto portafortuna napoletano in arrivo direttamente da un produttore di San Gregorio Armeno, la famosa via dei Presepi conosciuta in tutto il mondo. Qui avverrà anche la cerimonia di consegna della targa "Uomo di Mondo dell'anno" giunto alla 6a edizione. Verrà insignito il matematico cuneese Piergiorgio Odifreddi, personaggio conosciuto in tutte le Università importanti della Terra dove ha insegnato, per le sue pubblicazioni, conferenze e partecipazioni televisive. Quest'anno non ci sarà il tradizionale spettacolo del sabato precedente l'Adunata al Teatro Toselli ma  è intenzione da parte dell'Associazione organizzare nel mese di Dicembre una serata dedicata agli auguri natalizi come s'era fatta per la presentazione della pedalata Cuneo-Napoli.

[coffeeburada]

Bugün black ivory coffee düştü yolumuz, ama tavsiyemiz yolunuzu düşürmeye çalışın. Gardelli kahveleri görünce, sevinçten resmen havalara uçtuk. Alsancakta keyifli bir zaman geçirebileceğiniz, kahvenizi yudumlarken işlerinizi halledebileceğiniz harika bir mekan #gardellicoffee #gardelli #izmircoffee #alsancak #izmir #izmirdeneyenir #blackivory #blackivorycoffee (Black Ivory Cafe) https://www.instagram.com/p/CWqgUIVjd3C/?utm_medium=tumblr

[giorgiobertozzi]

Donatella Moriconi

Sistemare una ricca e complessa produzione artistica da mille sfaccettature può rappresentare per un critico un’impresa ardua tanto da divenire talora fuorviante.  Eppure la scultrice Donatella Moriconi, in arte ELLA DM, pur operando sempre in una medesima tecnica ceramica di grande suggestione, riesce a sviluppare il tema culturale e filosofico. Da lei ogni volta prescelto, in infinite varianti,…

[noragaribotti]

Ancient Stabiae-Look closely to discover the ancient Latin and Greek graffiti from this cubiculum! Only recently discovered in 2011, during excavation, the names of several slaves, freed slaves, and the last two owners of the villa appear. It was a very important discovery! A special thank you to Dr. Paolo Gardelli, an archaeologist who conducts much research and restoration through the Foundation of Restoring Ancient Stabiae, for the interpretation and explanation of this graffiti.

[princesssarisa]

Mine was the 1982 Met performance with Stratas, Carreras, Scotto, et al. Even though I've seen many Bohémes since then, I still tend to picture the characters as looking a bit like that cast.

[opera-simplified]

Opera Simplified #5: Stiffelio

Stiffelio

Opera Simplified #5

The Basics:

Music: Giuseppe Verdi

Libretto: Francesco Maria Piave

Premiere: world premiere: November 16, 1850; Teatro Grande, Trieste, Austria (now Italy). premiere of Verdi and Piave’s complete and uncensored original version: October 21, 1993; Metropolitan Opera, New York, New York.

Based on: Gaetano Vestri’s translation of the last three acts of Eugène Bourgeois’ and Émile Souvestre’s 1849 play Le pasteur, ou l’évangile et le foyer (The Pastor, or The Gospel and the Home), itself based on Souvestre’s 1838 novel Le pasteur d’hommes (The Pastor of Men).

Setting: A castle on the banks of the Salzach River outside of Salzburg, Austria; around the time of composition.

The Characters:

Stiffelio (alias Rodolfo Müller), a Protestant minister- tenor

Lina, his wife- soprano

Count Stankar, her father, a retired military officer, and the owner of the castle- baritone

Raffaele di Leuthold, a longterm guest at Stankar’s house, supposedly a count- tenor*

Jorg, another Protestant minister and Stiffelio’s mentor- bass

Federico di Frengel, one of Lina’s cousins and another longterm guest- tenor

Dorotea, ditto- mezzo-soprano

Fritz, a servant who appears onstage for about ten seconds total but is still a named character- mute

*Souvestre’s novel introduces Raffaele perfectly, but this was too long to put in the above:

Moitié Faust et moitié Don Juan, il était puissant par l'intelligence, par la volonté, par les sens; mais il lui était resté un vide que rien ne pouvait remplir: il n'avait pas de coeur!

(Half Faust and half Don Juan, he was powerful because of his intelligence, his will, his senses; but there remained in him a void which nothing could fill: he did not have a heart!)- p.15

Requested by: no one, but this opera is ridiculously underrated and also I’ve been thinking about it almost nonstop for a couple of weeks, so here you go.

(Special thanks to @sweatershowgirl for being a perfect springboard for ideas and a source of moral support while writing this.)

Recommended Audio Recordings: The 1980 Gardelli recording (YouTube; Spotify) is marvelously performed on all accounts and is still my go-to. However, it does not account for the critical edition discoveries made within the last thirty years; the 2000 Luisotti recording (YouTube; Spotify) does and is also wonderfully performed. Both are good to have in your library.

Recommended Video Recordings: Stiffelio is very lucky on film; just about any production is worth a watch. However, the Venice 2016 production (available here with Italian and French subtitles) is my favorite. The Met 1993 production was my first full one and I would highly recommend it if not for everyone’s least favorite tenor-conductor pair, Placido Domingo and James Levine *sigh*. (I’m still mad at the Met for not filming the 2010 revival with Sondra Radvanovsky as Lina and Michael Fabiano as Raffaele. But I digress.)

The Opera, Very Simplified: A Protestant minister returns home from an extended ministry trip only to get the feeling that something is extremely off, but he doesn’t know what. When he discovers that he has been horribly betrayed, he finds himself in an extreme internal conflict between his desire for revenge and his faith’s calling of forgiveness.

One More Note: Because the censors absolutely sucked, Verdi ended up withdrawing this opera in 1856 and reusing most of the music (although writing a new fourth act to replace the final scene, as well as revising music elsewhere) for another opera entitled Aroldo, which has a somewhat similar plot. However, trust me when I say that it’s nowhere near as good. Watch it as a curiosity, I guess, but seriously this is way better.

(As for Stiffelio, it was thought lost for over a hundred years and the first modern performance wasn’t until 1968, while the first performance using all of Verdi’s original manuscripts wasn’t until 1993. For perspective, that is only ten years before I was born.)

THE OPERA:

Overture

Act I:

Scene 1:

A hall in the castle. In the middle of the back wall is a door, with a window to its left. A fireplace burns at right. In front of the window there is a table with books, one of which is very large and has a clasp lock. There is also a large table, where Jorg is sitting alone and reading.

Jorg: Holy Word of God, give us the truth and inspire God’s chosen prophets!

As for you, Stiffelio, as you come home, let your words strike fear into the hearts of God’s enemies on earth as lightning, floods, or storms do!

*He closes the book, gets up, and looks outside.*

He’s back! His wife’s gone to meet him. As for them, Heaven forbid that their love and anything related to that gets in the way of his mission!

*Stiffelio enters with Lina, Stankar, Raffaele, Federico, and Dorotea.*

Stiffelio: At last, I get to see you all again-- my dear wife, my friends…

Jorg: Welcome back, Stiffelio!

Stankar: My son-in-law!

Stankar, Raffaele, Jorg, Federico, and Dorotea: WE’RE ALL SO HAPPY TO SEE YOU AGAIN WE’RE ALL GONNA REMEMBER THIS DAY FOREVER BECAUSE WE LOVE YOU

Dorotea: Hey, one of the boatmen came here earlier because he wanted to see you.

Stiffelio: Did he want to talk about something?

Dorotea: Yes.

Stiffelio: Oh yeah, that was Walter. Good man. He saw something strange a little while ago and wanted my guidance about it.

Stankar, Raffaele, Jorg, Federico, and Dorotea: Can you tell us what he told you?

Stiffelio: Sure! I’m not forbidden to tell you.

So he was crossing the river from here at dawn one day when he saw a window in a tower of this castle open, and then he saw a terrified young man looking out of it.

Stankar: (Wait! I have my suspicions about this!)

Lina and Raffaele: (Oh God, what am I hearing?!)

Jorg: Tell us the rest!

Federico and Dorotea: Well, that’s certainly strange.

Stiffelio: And THEN he saw a woman appear at the window and she looked almost like she had lost her mind. The man hesitated for a second but it seemed fear got the better of him because he stood on the window ledge and then jumped into the river!

Stankar: How long ago was this?

Stiffelio: Eight days ago.

Lina: OH NO OH GOD

Raffaele: (...This is EXACTLY what happened with me…)

Stankar, Jorg, Federico, and Dorotea: Did they figure out who he was?

Stiffelio: *taking a wallet out of his pocket* No, but the man dropped these papers…

Jorg, Federico, and Dorotea: ooh can we see them?

Lina and Raffaele: oh no oh no 

Stankar: What are you going to do with them?

Stiffelio: Well, in order to return them, I’d have to read the papers to find the name of the person who dropped them, and then I’d find out about something that honestly really isn’t my business. My job is to save souls, not to go snooping around in people’s personal documents.

Jorg: So…

Lina and Raffaele: What is he going to do?

Stankar, Jorg, Federico, and Dorotea: What have you decided?

Stiffelio: LET THE PAPERS BURN ALONG WITH THE NAME OF THE GUILTY MAN

*Which he summarily does by throwing them in the fireplace.*

Lina and Raffaele: THANK GOD I CAN BREATHE AGAIN

Stankar, Jorg, Federico, and Dorotea: HE’S SUCH A WONDERFUL PERSON

Stiffelio: Let both the sin and the identity of the sinner be buried in the ashes. After all, God has told us we must forgive each other.

Jorg and Federico: His forgiveness is so great that even the memory of the sin has been forgotten (and us talking about it is definitely not an oxymoron)!

Raffaele: *whispering* HEY LINA I REALLY WANT TO MEET WITH YOU AGAIN EVEN THOUGH IT’S NECESSARY TO HIDE AND LIE TO DO SO

Jorg, Federico, and Dorotea: STIFFELIO IS SUCH A GOOD AND PURE AND WONDERFUL PERSON

Stankar: ohhhhhhhhhhhhhh Raffaele I’m not sure what’s going on between you and my daughter but I have my suspicions and if it turns out I’m right and that you’ve destroyed our honor then you will fucking pay for it with your LIFE

Raffaele: *still whispering* I’M GOING TO PUT A LETTER IN THAT BOOK WE HAVE KEYS TO THAT WILL TELL YOU WHERE WE’RE GOING TO MEET NEXT

Lina: Thank God everyone didn’t find out…

Stiffelio: God has said it, it is written: we must forgive each other.

Lina: THANK GOD BECAUSE HE HAS BEEN MOVED BY MY ANGUISH SO IF I’M SAVED THEN I WILL NEVER FALL INTO SIN AGAIN

Friends and Congregation Members: *from outside* LONG LIVE STIFFELIO

Stiffelio: What’s going on?

Jorg: *looking through the window* There are a bunch of happy people coming to see you!

Stiffelio: Why?

Jorg: Duh, because they want to welcome you!

*All of the family friends and members of Stiffelio’s congregation enter.*

Friends and Congregation Members: Where is he? OH THERE HE IS 

HEY STIFFELIO WE HAVE A SONG FOR YOU BECAUSE WE THINK YOU’RE AWESOME BECAUSE YOU’RE THE PRIDE OF AUSTRIA AND GERMANY AND YOU’RE THE BEST AT GETTING RID OF SIN AND YOU FIGHT FOR THE WORD OF GOD THROUGH JUSTICE AND BROTHERLY LOVE AND YOU’LL BE IN OUR HEARTS AND WITH US EVERYWHERE FOREVER

Lina: I HAVE SO MUCH REMORSE AND IT’S ONLY MADE WORSE BECAUSE HE’S SUCH A GOOD PERSON

Stiffelio: EVERYONE THANK YOU BUT REALLY YOU SHOULD ONLY SING HYMNS TO GOD BESIDES THEN THEY’LL RING OUT ACROSS THE WHOLE WORLD

Friends and Congregation Members: WE DIDN’T HEAR WHAT YOU JUST SAID SO WE’RE GONNA KEEP SINGING OUR SONG

Raffaele: (His goodness should make me feel remorse, but...meh, it doesn’t. Besides, there is so much pleasure to be had!)

Stankar: His virtue should make Lina feel remorse...that and a father watching closely over her should do the trick.

*Lina collapses into a chair by the table; everyone else except Stiffelio follows Stankar into the next room.*

Stiffelio: She hasn’t said anything to me, or even looked at me…

Well, we’re alone together at last.

Lina: Rodolfo! Oh, sorry, forgive me: I’m still not accustomed to calling you by your real name…

Rodolfo Müller...that dear name you used when you first came to us...the first name I ever called you...when you were fleeing your persecutors and my father welcomed you into his home... **

Stiffelio: I was so unhappy without you!

Lina: But...out in the world, you had success, you must have had triumphs and pleasures…

Stiffelio: Pleasures? You’re sorely mistaken. You weren’t with me...so let me tell you what it was really like.

Everywhere I saw virtue being oppressed, young and old alike enslaved to depravity, greed reigning, justice mocked...in short, humanity adrift in a sea of sin.

Lina: THAT’S HORRIBLE

Stiffelio: And worst of all, everywhere married women, who you know are supposed to be faithful and modest, were being unfaithful to their husbands--

Lina: Ah!

Stiffelio: I know. I’m sorry. It’s all so horrible...but I see you again and I’m reminded there is still faithfulness and goodness in this world…

Lina: WHAT ARE YOU SAYING

Stiffelio: The truth, of course. But on the extreme off-chance I am ever betrayed like that, woe to the betrayer!

Lina: You are such a good person…

*she starts getting overwhelmed by emotion*

...and surely if that happened you would be forgiving?

Stiffelio: Well, no. It’s easy for a heart that hasn’t been broken to forgive, but in every soul there is a hidden treasure that no one can destroy without serious consequences. And for people who are married, that treasure is their faithfulness to one another…

*Lina, devastated for obvious reasons, starts sobbing.*

But you’re crying and shaking! Something is troubling you, I can tell. Please, whatever it is, just tell me. Talk to me.

Lina: No…

Stiffelio: No? Then at least would you smile for me? Remember, today is a happy day; it’s our wedding anniversary!

Lina: I know…(this hurts too much!)

Stiffelio: Just think, today my mother looks down from Heaven and blesses us…

*He takes her hands in his.*

Today, her ring…

*He notices that she is not wearing the ring.*

wait, WHERE’S THE RING?!?!?!?!?!

Lina: OH NO

Stiffelio: IT’S NOT THERE YOU HAVE TO TELL ME WHAT HAPPENED TO IT

Lina: To the ring?

Stiffelio: YES I’M IMMEDIATELY GOING TO ASSUME YOU GAVE IT TO SOMEONE ELSE FOR WHATEVER REASON SO WHO DID YOU GIVE IT TO

Lina: OH MY GOD THIS CAN’T BE HAPPENING

Stiffelio: OH I CAN SEE YOUR REMORSE BECAUSE IT’S PRACTICALLY WRITTEN ON YOUR FACE AND YOUR SILENCE ONLY FURTHER PROVES THAT YOU’RE GUILTY OF SOMETHING ALTHOUGH I DON’T KNOW WHAT BUT IF I HAVE BEEN WRONGED MAY I BE STRUCK WITH LIGHTNING AND THEN SINK INTO THE GROUND AND HAVE ALL CREATION TURNED AGAINST ME

Lina: HIS ANGER TERRIFIES ME

*Stankar unexpectedly comes in.*

Stankar: Müller?

Stiffelio: WHAT IS IT

Stankar: Your friends are waiting for you.

Stiffelio: CAN I GET A SINGLE MOMENT TO MYSELF AROUND HERE

Stankar: ...Why are you so angry?

Stiffelio: ...Forgive me. Let’s go.

And as for you, Lina, I will be back soon. But if you have betrayed me...

Lina and Stankar: HIS ANGER REALLY TERRIFIES ME

*Stiffelio and Stankar leave.*

Lina: He said he’d be back soon...I’m done for! How could I possibly explain this away? My remorse keeps me from saying anything, and besides, what could I even say? I’M A HORRIBLE PERSON AND I’VE BEEN BETRAYED AND NO ONE ON EARTH CAN SAVE ME FROM ALL THIS

MERCIFUL GOD SEE MY ANGUISH AND PLEASE FORGIVE ME AND LET HIM FORGIVE ME TOO OR ELSE LET ME PAY FOR MY SHAME WITH MY LIFE

He’ll be coming back...and I’ll have to answer him somehow! But how? What should I say? Should I go ahead and tell him everything? Well...no. I’ll tell him everything, but in a letter.

*She sits down and starts to write a letter.*

“Rodolfo…” AGH I CAN’T DO THIS yes you can Lina you need to

*As she goes back to writing, Stankar comes back in.*

Stankar: I need to get to the bottom of all this.

*He sees Lina.*

Ah, there she is!

Lina: ...that isn’t right, this isn’t what I want to say or how to say it…

*Stankar approaches Lina slowly and suddenly places his hand on the letter.*

Stankar: A letter! You’re writing to Raffaele again, aren’t you?

*He grabs the paper.*

Lina: WHAT NO

Stankar: Shut up.

*He starts to read the letter.*

“Rodolfo, I am no longer worthy of you--”

SO I WAS RIGHT ABOUT YOU AND RAFFAELE HAVING AN AFFAIR

Lina: PLEASE I CAN’T KEEP QUIET ABOUT THIS ANYMORE IT’S TOO MUCH TO BEAR

Stankar: Okay, first off: who breaks up with someone via letter???

Lina: Dad-- 

Stankar: More importantly, IF STIFFELIO FINDS OUT ABOUT ALL THIS THEN HE’LL FALL INTO DESPAIR AND DIE ***

Lina: NO! Dear God, I want him to live, but I CAN’T LIE TO HIM ABOUT THIS

Stankar: Fine. But tell him that you’re too weak to put your sin behind you and too afraid of your own guilt. Tell him that you think it’s easier for YOU to tell him you betrayed him even though YOU KNOW IT WOULD KILL HIM. 

I mean, look at you: as if it weren’t enough that you committed adultery and risk bringing dishonor upon us all if anyone finds out about this, you have to go and be a coward as well!

Lina: DAD STOP

Stankar: Listen to me. You will save your husband. YOU ARE UNWORTHY OF HIS LOVE BUT YOU ALSO HAVE TO KEEP UP APPEARANCES THAT EVERYTHING IS FINE OR ELSE WE’RE ALL RUINED

Lina: NO

Stankar: I AM YOUR FATHER YOU MUST OBEY ME IT’S EVEN IN THE BIBLE EXCEPT GIVEN RECENT EVENTS YOU’RE NOT PARTICULARLY GOOD AT FOLLOWING THAT

Lina: NO STOP IT

Stankar: BUT--

Lina: NEVER

Stankar: NEVER???

Lina: NEVER!!!

Stankar: NEVER?!?!?!?!

Lina: NO!!!!!!!!!!!!!!!!

Stankar: Well, consider this: in order to keep up appearances and save my own honor, you know what I have to do? I’ll have to keep all my anger and shame bottled up inside me and pretend everything is fine and still call you my daughter, even though I DESPISE YOU BECAUSE YOU HAVE BROUGHT DISHONOR UPON ME

Lina: THIS IS HORRIBLE WHY ARE YOU MAKING ME SUFFER LIKE THIS WHEN I’VE REPENTED AND YOU CAN SEE ME CRYING AND ALSO I NEED TO POINT OUT THAT I DID NOT SIN OF MY OWN FREE WILL ****

Stankar: YOU DISHONORED ME AND I AM SO ASHAMED OF YOU

Lina: I DIDN’T DO IT WILLINGLY

Stankar: Enough. Stop your blubbering.

Lina: DAD NO STOP I CAN’T

Stankar: You must.

Lina: BUT I CAN’T

Stankar: LET ME REMIND YOU THAT YOU MUST OBEY ME

Lina: BUT I CAN’T KEEP SILENT

Stankar: You must. It will be the one duty as a wife that you haven’t fucked up. And for your husband’s sake, you must keep it that way.

Lina: Fine. I’ll keep silent.

Stankar: Good.

Lina: (Who will help me???)

Stankar: Stop crying and come with me. No one, and I mean no one, must even suspect what’s happened with you and Raffaele. So let’s bury the truth because our honor demands it, and if Stiffelio has lost your love...make sure he never knows. Let him have the love of his flock as consolation. But he especially must never know.

Lina: This is all too much...I’ve lost him forever...fine. I’ll stop crying and put on a happy face and pretend I’m not dying inside. But I’ve lost my husband forever, even though I’ve always loved him!

*They leave together. Raffaele enters, looking a little miffed.*

Raffaele: Everyone’s avoiding meeeeeeeeeee I don’t understand whyyyyyyyy (I mean, there’s no way that it could be because of my personality or behavior or anything) but I wanna have a rendez-vous with Lina so I’m gonna leave her a note! 

*He takes a note out of his pocket.*

Here’s the book. She and I are the only ones who have keys to it. It’s FOOLPROOF!

*He unlocks the book. Jorg approaches from the other side of the window.*

Jorg: IT’S TIME FOR A VIBE CHECK oh wait what’s this???

*He watches as Raffaele places the note inside the book and locks it.*

This does not pass the vibe check.

*Federico enters and Jorg continues watching.*

Federico: Raffaele?

Raffaele: Yello?

Federico: Oh hey, you have it. Klopstock’s Messiah, right? Yeah. Uh...we need that book like right now. *****

Raffaele: oh shit i thought this was foolproof uhhhhh Raffaele play this cool

*Federico takes the book. He and Raffaele leave together as Jorg watches disapprovingly.*

Notes

Scene 2:

A reception hall in the castle, brightly lit and prepared for a party celebrating Stiffelio’s return. The guests (friends of the family and members of the congregation) are mingling and having a good old time.

Guests: YAAAAAAAAAAAAAAAAAAAAAAAAY STIFFELIO’S BACK WE’RE SO HAPPY we really hope that everything here will be full of joy and peace and just as much love as he spreads to people because it makes everyone equal regardless of social class anyway LET’S ALL SING AND SHOW HIM HOW HAPPY WE ARE AND HOW MUCH WE LOVE HIM

*They move to the back of the hall as Jorg enters and finds Stiffelio.*

Stiffelio: You’re late! Where were you?

Jorg: These parties are too worldly for me.

Stiffelio: Even an innocent celebration like this? 

Jorg: You think it may be innocent, but even something like this can be the cause of sin.

Guests: ...we really hope that everything here will be full of joy and peace…

Stiffelio: Anyway, if you’re so scornful of these parties, then why are you here?

Jorg: I need to tell you something.

Stiffelio: What is it?

Jorg: I was going to do one of my vibe checks--

Stiffelio: What is a “vibe check”?

Jorg: I’m older than you; how do you not know what a vibe check is?

Stiffelio: ...The point is?

Jorg: The point is that when I was going to do my vibe check, when I saw this guy place this note inside a book and lock it and he was obviously worried about getting caught--

Stiffelio: A note? 

Jorg: --and awaiting a reply to that note. I think there is some sin afoot.

Stiffelio: Oh God! Who?

*Lina, Raffaele, Dorotea, and Federico (who is carrying the book) enter with some friends.*

Jorg: The guy with the book, right there, talking to Lina.

Stiffelio: FEDERICO?!?! How do I confirm this?

Jorg: We can figure that out later.

*Stiffelio falls into deep thought.*

Dorotea: Hey, whatcha doin’ there, Stiffelio? Planning your new sermon?

Federico: We’re going to have a special meeting at the church tonight!

Guests: AND WE’LL ALL BE THERE TOO

Federico: Sneak preview- what’s the topic?

Stiffelio: Judas’ betrayal.

Lina and Raffaele: oh friiiiiiiiiiiiiiiiiiiick.

Federico: THAT’S A GREAT TOPIC

Guests: YEAH BECAUSE THE WICKED WILL TREMBLE

Stiffelio: ...You want me to give a preview?

Guests: Sure!

Stiffelio: Alright, then…

So in this sermon I’m planning, I’m going to talk about Judas, yes, but also more broadly. I’m going to condemn all betrayers. Especially the ones who use their cunning to be homewreckers, and ESPECIALLY the very ones who are oh so friendly and hold out their hand for you to your face while bragging about how they’ve betrayed you behind your back! And I will hurl a curse upon them-- the very curse of betrayers in that book!

*He grabs the book from Federico and unsuccessfully attempts to open it.*

It’s locked!

Dorotea: HEY I DON’T KNOW IF THIS HELPS AT ALL BUT LINA HAS A KEY TO THAT BOOK

Lina: OH GOD DOROTEA STOP

Stiffelio: OPEN IT THEN

Lina: you want me to WHAT

Stiffelio: I WANT YOU TO OPEN IT

Lina: ME???

Stiffelio: YOU CAN BE AFRAID ALL YOU WANT BUT THAT’S NOT GONNA CHANGE THE FACT THAT YOU’RE GONNA UNLOCK THIS BOOK BECAUSE THERE IS DAMNING PROOF OF A BETRAYER LOCKED INSIDE

*Everyone freezes and internally panics.*

OKAY NOW I’M INTERNALLY PANICKING BECAUSE MY MIND IS GOING ALL OVER THE PLACE AND BECAUSE THERE’S SOME HORRIBLE SECRET INSIDE THAT BOOK

Everyone Else: WE’RE ALL INTERNALLY PANICKING NOW TOO BECAUSE IT’S ALMOST TOO TERRIBLE TO THINK ABOUT WHAT HORRIBLE SECRET IS INSIDE THAT BOOK

Everyone: WHATEVER THIS SECRET IS IT’S GOING TO BE REALLY BAD AND PROBABLY RUIN PEOPLE’S LIVES

Stiffelio: You won’t open it? Fine, I’ll go ahead and open it myself.

*He breaks the lock, opening the book. Raffaele’s note falls out of the book and onto the floor.*

A note!

Lina: (Oh God!)

*Stankar immediately grabs the note.*

Stankar: YOU DON’T HAVE THE RIGHT TO READ THIS AND YOU’RE NOT GONNA FIND OUT WHO WROTE IT OR TO WHOM IT WAS ADDRESSED

Stiffelio: I WANT THAT NOTE GIVE IT BACK

Stankar: I am an old man, so you’d best treat me with some respect.

Stiffelio: GIVE IT BACK

Stankar: NO!

Stiffelio: GIVE IT BACK

Stankar: NO!!!!!!!

Stiffelio: I WILL NOT SAY THIS AGAIN GIVE IT--

Stankar: *ripping up the note* HOW ABOUT NOPE

Stiffelio: WHO WILL SAVE YOU FROM MY ANGER BECAUSE YOU ARE A HORRIBLE PERSON AND I’M REALLY REALLY ANGRY AND I CAN’T HOLD MY ANGER BACK ANYMORE

Lina: *intervening* DON’T DO THIS TO MY FATHER IF YOU WANT TO GET REALLY REALLY ANGRY AT SOMEONE GET ANGRY AT ME ESPECIALLY BECAUSE MY FATHER IS OLD (no offense, Dad)

Stankar: *whispering* Raffaele, I officially challenge you to a duel tonight in the cemetery.

Raffaele: *whispering* CALM DOWN FOR FIVE SECONDS 

Stankar: Choose your weapons because we are going to fight, you traitor.

Raffaele: I’m not afraid of you, but you need to keep in mind who I am, mm’kay?

Jorg, Dorotea, Federico, and Guests: EVERYTHING WAS GOING JUST FINE SO WHY DID A DEMON HAVE TO COME MAKE STIFFELIO BE SO SUSPICIOUS OF EVERYONE

Raffaele: Besides, you shouldn’t be calling me a traitor because I’m not a traitor.

Stankar: KEEP TELLING YOURSELF THAT BUT IT WON’T CHANGE ANYTHING

Guests: THIS IS JUST SO MESSED UP WHY WOULD ANYONE TRY TO MESS WITH STIFFELIO???

*Stiffelio and Jorg leave together through the doors on the right; Lina and Stankar leave together through the doors on the left; everyone else leaves through the doors in the middle of the back wall.*

Act II:

That night, at the castle cemetery. Center stage is a cross with several steps in front of it; to the left is a staircase leading to a church lit from within. At right in the distance is an entrance to the castle. The moon illuminates the graves, which are shaded by cypress trees. One of the graves looks more recent. Lina enters from the back.

Lina: Oh God, where am I? Something has brought me here...but what? Raffaele will be here...here??? This place is too awful! And I don’t want to meet him here, but I must…

I CAN SEE WHAT I’VE DONE CARVED INTO EVERY GRAVESTONE AND THE WIND SOUNDS LIKE A VOICE CONDEMNING ME

*She wanders through the cemetery before stopping at one of the graves.*

My mother’s grave! She was so pure and good...and I...MOTHER PLEASE HELP ME

Please, I’m begging you, take just a moment, look down on me from Heaven...and bring my tears to God, and add yours to them if blessed souls can still weep in paradise...because you are so good, for your sake God will not deny me His forgiveness! And that’s about the last hope I have.

*Raffaele enters.*

Raffaele: HI LINA

Lina: shhhhhhhhhhhh what are you doing besides I know my father is nearby and also my husband is suspicious and he’s probably guessed most if not all of it--

Raffaele: He suspects only Federico because your father destroyed that note.

Lina: Do you have any sense of remorse whatsoever? Because I’ll probably have it for all eternity.

Raffaele: I’m acting in service of love; why should I be afraid of it?

Lina: I was caught unaware then; besides, you do realize that I do not love you and that I have never loved you, right?

Raffaele: BUT I LOVE YOU

Lina: If that’s true, then prove it. Give me back my wedding ring and my letters, leave at once, and never come within my sight again.

Raffaele: NO I’M NEVER GONNA GIVE YOU UP NEVER GONNA LET YOU DOWN--

Lina: THAT’S NOT EVEN A GOOD SONG

Raffaele: I’M GONNA STAY HERE AND DEFEND YOU

Lina: LEAVE

Raffaele: NO I’M STAYING HERE WITH YOU

Lina: ONCE AGAIN, LEAVE

Raffaele: ONCE AGAIN, NO I’M STAYING HERE WITH YOU

Lina: OH SO YOU WANT TO DESTROY ME EVEN MORE AFTER I’VE BEEN HURT AND BETRAYED BECAUSE IF YOU STAY HERE THEN MY LIFE WILL JUST BE ME WEEPING UNTIL I DIE BUT EVEN THOUGH I WAS ONCE HAPPY AND YOU RUINED THAT I WILL BLESS YOU IF YOU LEAVE

You’re still standing there, so I’m just going to say that all again in case you didn’t get the hint the first time.

OH SO YOU WANT TO DESTROY ME EVEN MORE AFTER I’VE BEEN HURT AND BETRAYED BECAUSE IF YOU STAY HERE THEN MY LIFE WILL JUST BE ME WEEPING UNTIL I DIE BUT EVEN THOUGH I WAS ONCE HAPPY AND YOU RUINED THAT I WILL BLESS YOU IF YOU LEAVE

Raffaele: NOPE I’M STAYING HERE

Lina: FINE THEN I’M GONNA TELL STIFFELIO EVERYTHING

*Unexpectedly, Stankar appears at the cemetery gate, holding two swords.*

Stankar: NO YOU’RE NOT

Lina: DAD--

Stankar: LEAVE

Lina: Dad, I can see in your eyes that--

Stankar: Obey.

*Lina leaves. Stankar throws off his cloak and presents the two swords.*

Choose one!

Raffaele: ...Are we having a duel?

Stankar: WE ALREADY TALKED ABOUT THIS THE ANSWER IS YES AND IT’S TO THE DEATH

Raffaele: I hate to say it (actually I don’t), but this ain’t a fair fight.

Stankar: You refuse a duel challenge? Fine, I’ll insult you in front of everyone and God.

Raffaele: Well, I’m not afraid of your empty threats. Besides, I’ll win some respect for saving a man as old as you from meeting death in a duel.

Stankar: YOU ARE A COWARD AND A HORRIBLE HORRIBLE PERSON

...You’re still not angry and offended enough to fight? Do you have any sense of honor whatsoever?

Raffaele: I am merely patient, sir. Perhaps you should take a tip.

Stankar: I AM SO PISSED OFF RIGHT NOW AND YOU ARE GOING TO LISTEN TO ME

Raffaele: Enough of this nonsense.

Stankar: Very well, I have only one more thing to say to you. 

If no insult of mine, not even calling you a coward, affects you in the slightest, then I still have one thing up my sleeve: I will make sure that everyone knows who you really are.

Raffaele: Enough of this, Stankar!

Stankar: You are an adventurer who seeks to hide the truth about yourself. You claim you are a Count, that you are of noble lineage...but I know that you are not a nobleman; you are nothing but a foundling!

Raffaele: THAT’S IT GIVE ME A SWORD NOW

*He takes a sword.*

Stankar: AT LAST

Raffaele: EN GARDE

Stankar: TO THE DEATH

Stankar and Raffaele: TO THE DEATH THEN

*They get ready to fight.*

THERE IS NO DEMON OR GOD THAT CAN SAVE YOU FROM ME BECAUSE YOUR BLOOD AND MY ANGER ALONE CAN END THIS SHAME YOU HAVE INFLICTED UPON ME

*They start fighting, when all of a sudden, from the doors of the church:*

Stiffelio: WHAT’S THAT NOISE

*He rushes down the stairs into the cemetery.*

A DUEL?!?!?!?!?! PUT DOWN YOUR SWORDS!!!!!!!!!!!!

Stankar and Raffaele: STIFFELIO WHAT ARE YOU DOING HERE

*They put down their swords.*

Stiffelio: Seriously, you two?

You are profaning sacred ground with your duel! You’re trampling on hallowed graves with your feet and you’re even daring to fight with the cross standing above your heads!

Stankar: Fine. We’ll go finish this elsewhere.

Stiffelio: You know who else is going to be there, no matter where you go?

Stankar: ...I certainly hope not you.

Stiffelio: Wrong answer. I meant God.

Stankar and Raffaele: LEAVE US ALONE ONE OF US NEEDS TO DIE

Stiffelio: And as for your earlier comment, I too will know how to be wherever you may go in order to prevent further fighting.

Stankar: Have you forgotten to whom you are speaking? I am a nobleman and a decorated veteran and your father-in-law--

Stiffelio: And I am speaking in the name of God, so you’d best both stop protesting and listen to me. Drop your weapons.

Whatever the reason for this duel may be, let it be forgotten; we must forgive each other…

Stankar: NEVER

Stiffelio: Let’s shake hands and forget and forgive all this. Raffaele, you are younger, so give me your hand…

*He disarms Raffaele, who reluctantly holds out his hand so Stiffelio can take it.*

Stankar: WHAT AN UNPRECEDENTED INSULT RAFFAELE HOW DARE YOU TAKE THE HAND OF THE MAN YOU BETRAYED

Stiffelio: wait WHAT?!?!?!?!?!?!?!?!?!

Stankar: OH FUCK DID I ACTUALLY JUST SAY THAT

Stiffelio: TELL ME WHAT YOU MEAN 

Stankar: NO LEAVE ME ALONE AND FORGET THE LAST THIRTY SECONDS EVER HAPPENED

Stiffelio: I WANT TO KNOW TELL ME EVERYTHING

*And in spectacularly bad timing, Lina returns at that exact moment.*

Lina: I HEARD WEAPONS WHAT’S GOING ON HERE

Stiffelio: THIS MYSTERY NEEDS TO BE SOLVED

Lina: OH GOD 

Stankar and Raffaele: LINA WHAT ARE YOU DOING HERE

Stiffelio: I WILL HAVE THE TRUTH AT LAST

Lina: FORGIVE ME RODOLFO

Stiffelio: ...Forgive you? Why?

*And then he looks at Raffaele and starts to put it all together.*

So it was that man who…

Stankar: Müller…

Stiffelio: SO IT WAS TRUE???

No...it can’t be...Lina, please, at least tell me it’s a lie...say even one word and tell me it isn’t true...for mercy’s sake, exonerate yourself, all you have to do is say a single word…

*Lina, in despair and unable to exonerate herself for obvious reasons, remains silent.*

But you remain silent...you remain silent...OH GOD YOU ACTUALLY HAD AN AFFAIR WITH HIM AND I CAN’T BELIEVE OTHERWISE ANYMORE AND NOW I WANT TO KILL YOU

Lina: I knew this would happen...it was waiting to burst over my head at any second...now the storm has come…

Stankar: RAFFAELE GOD HAS WRITTEN YOUR FATE WITH MY DAUGHTER’S TEARS

Raffaele: Well, I’m ready to take whatever fate has in store for me.

Lina: THE REST OF MY LIFE IS JUST GOING TO BE A SLOW AND PAINFUL DEATH

Stankar: YOU ARE GUILTY OF SOMETHING HORRIBLE AND IT WILL NOT GO UNPUNISHED ANY LONGER

Raffaele: So what are you waiting for?

Lina: GOD YOU ARE THE FATHER OF ALL WRETCHED SOULS PLEASE DO NOT DENY ME YOUR MERCY

Stiffelio: I’M STILL HOLDING OUT ON THE TINIEST SCRAP OF HOPE LINA PLEASE TELL ME IT’S A LIE

Raffaele: STANKAR YOU’RE GOING TO LEARN THAT I’M NOT A COWARD

Stankar: YOU’RE VERY LUCKY THAT ALL THIS SAVED ME FROM KILLING YOU FOR THE MOMENT BUT MY WRATH IS ONLY GOING TO COME DOWN ON YOU EVEN STRONGER FOR IT

Stiffelio: OH GOD YOU ACTUALLY HAD AN AFFAIR WITH HIM AND I CAN’T BELIEVE OTHERWISE ANYMORE AND NOW I WANT TO KILL YOU

Lina: DEAR GOD PLEASE DO NOT DENY ME YOUR MERCY

Stankar: You need to understand that Lina is not the one you need to punish here.

Stiffelio: OH I KNOW WHO’S THE GUILTY ONE HERE AND I SEE THAT YOU WERE JUST TRYING TO AVENGE MY HONOR

*He grabs Stankar’s sword.*

ENOUGH OF THIS RAFFAELE TAKE YOUR SWORD

Raffaele: Against YOU????? I DON’T WANT TO

Stiffelio: DEFEND YOURSELF

Raffaele: I DON’T WANNA

Stiffelio: DO YOU NOT HEAR THE DEAD CRYING OUT AT YOU??? TREMBLE YOU TRAITOR BECAUSE YOU ARE GOING TO BE PUNISHED FOR WHAT YOU’VE DONE AND YOUR TIME HAS COME

*He makes to stab Raffaele but the congregation starts singing from within the church. At that moment, Jorg steps out from the church.*

Congregation Members: O LORD DO NOT PUNISH ME IN YOUR ANGER OR ELSE I WILL BE DONE FOR…

Jorg: Stiffelio?

*Stiffelio lets the sword fall from his hands.*

Stiffelio: What’s that sound?

Jorg: *coming over to him* That’s your congregation.

Congregation Members: ...HAVE MERCY ON ME AND I WILL SING YOUR PRAISES FOREVER

Stiffelio: ...What do they want?

Jorg: They’re asking for comfort.

Stiffelio: Comfort?

Jorg: Come back to your senses.

Stiffelio: *almost delirious* I’M IN DESPAIR AND I’M BURNING WITH A FURY THAT CAN ONLY COME FROM HELL QUICK SOMEONE PUT A CALM AND COLD HAND ON ME BECAUSE I FEEL LIKE THAT’S THE ONLY THING THAT CAN STOP IT SO MAKE MY VEINS WITHER AND MY BLOOD TURN COLD AND ONLY THEN CAN MY STRENGTH OVERCOME IT ALL BUT ALSO I’LL PROBABLY BE DEAD BY THAT POINT SO EVERYONE JUST LEAVE ME BECAUSE MY HEART HAS COMPLETELY SHATTERED

Congregation Members: *still singing inside the church* Dear Lord, do not punish me in Your anger…

Jorg: Do you not hear them?

Congregation Members: ...or I shall melt away as mists before the sun…

Stiffelio, Lina, and Stankar: This is all too horrible…

Congregation Members: ...have mercy on me, Lord...

Jorg: Lift up your thoughts to God and remember who you are!

Congregation Members: ...and I will sing Your praises forever!

*They continue singing these lines for the remainder of the act.*

Stiffelio: ...I am a minister!

*He kneels.*

Dear God, I don’t know what I’m going to say to them anymore, inspire me, tell me what I should speak about tomorrow…

Lina, Stankar, Raffaele, and Jorg: About peace and forgiveness…

Stiffelio: *rising* About FORGIVENESS??? NEVER!!! LET THE ADULTERESS BE DAMNED

Lina, Stankar, and Raffaele: OH GOD

*Lina collapses at Stiffelio’s feet as Jorg climbs up the central steps.*

Jorg: Stiffelio, remember, by this cross Christ forgave all humanity.

*Stiffelio staggers towards the cross.*

Stiffelio: The cross...my blood is turning cold...I’m dying…

*He faints.*

Lina, Stankar, Raffaele, and Jorg: Poor soul!

Act III:

Scene 1:

The next morning. An antechamber with doors to several other rooms. There is a table, on which are placed two pistols and writing utensils. Stankar enters while reading a letter.

Stankar: He’s FLED?! And as if THAT weren’t enough, HE WROTE LINA THIS LETTER TO TRY TO GET HER TO FOLLOW HIM AND NOW HE’S ESCAPED MY REVENGE

*He picks up his sword.*

You were at my side for so many years and you won me glory in all my battles, but GET AWAY FROM ME BECAUSE I AM NO LONGER WORTHY OF YOU

*He throws it to the ground.*

I’M NO LONGER WORTHY OF YOU BECAUSE I AM DISHONORED 

...And what is life without honor? It’s a DISGRACE SO LET ME TAKE MY OWN LIFE AND LET IT ALL BE OVER IN THE BLINK OF AN EYE

*He picks up one of the pistols to shoot himself, but stops.*

But to leave everything and everyone behind...Stiffelio...my daughter...my guilty daughter! 

*He starts crying.*

A tear? In MY eyes? The eyes of a SOLDIER??? The fact that I’m even crying...that’s all you need to know about how great my sorrow is…

Lina, I thought that when you were born, Heaven had sent me an angel, a ray of sunshine, the purest kind of love to comfort me in my old age...but it was all a dream, a foolish dream! And now all the joy I once had in my life is gone! 

When I lie dying someday, the righteous won’t weep for me... all that will follow my coffin is dishonor! Now let me end it all!

*He sits down and starts to write a suicide note.*

Farewell, Stiffelio! Farewell forever…

*He finishes the note and picks up the pistol once again. Jorg enters.*

Jorg: TIME FOR ANOTHER VIBE CHECK

Stankar: CAN’T YOU SEE I’M IN THE MIDDLE OF SOMETHING

*He puts the pistol down.*

Jorg: ...That does not pass the vibe check. Anyway, I was just stopping by to ask you where Stiffelio is.

Stankar: He’s in his room and he doesn’t want to see anyone.

Jorg: Well, he will when I tell him that I found Raffaele--

Stankar: wait WHAT

Jorg: --and he’ll be here shortly.

*He goes into Stiffelio’s room.*

Stankar: He’ll be here shortly??? HE’LL BE HERE SHORTLY??? HE’LL BE COMING HERE!!! Well then, one of us will die here today!!!

I FEEL SO MUCH JOY THAT I CANNOT EXPRESS AND MY HEART IS BEATING TOO QUICKLY AND I FEEL SO ECSTATIC THAT I MIGHT BE LOSING MY MIND AND I CAN BARELY BREATHE BUT OH WHAT JOY BECAUSE REVENGE IS SO CLOSE I CAN FEEL IT AND I WILL BE REBORN

*He leaves. Stiffelio enters from his room with Jorg close behind.*

Stiffelio: Tell everyone I will be at church shortly. Now leave, please.

Jorg: He’s here.

*He leaves. Raffaele enters.*

Raffaele: Well, this is awkward...you wanted to see me?

Stiffelio: Yes.

Raffele: Go ahead, I know you’re going to read me the riot act--

Stiffelio: Not a word.

Raffaele: Uh, well, then, if you want revenge, then I guess go ahead and take it.

Stiffelio: I have only brought you here to ask you a single question.

Raffaele: Uh...what is it?

Stiffelio: My question is: what would you do if Lina were free to marry?

Raffaele: What are you saying?!

Stiffelio: I asked you a question. Answer it.

Raffaele: Um...isn’t that kinda impossible??? **

Stiffelio: Fritz!

*Fritz the loveable non-singing servant makes his only onstage appearance.*

Please tell Lina that I am waiting here and would like to see her.

*Fritz leaves and thus disappears from the opera.*

Raffaele: What are you trying to find out here?

Stiffelio: Oh, just whether your libertine lifestyle or the future of the woman you have ruined is more important to you, that’s all.

*pointing to one of the doors* Go into that room and you will hear everything you need to know.

Raffaele: (oh shiiiiiiiiiiiiiiiiiiiiiiiiiit.)

*He complies. Lina enters.*

Stiffelio: Given that we’re parting ways, we need to have this conversation.

Lina: You’re leaving?

Stiffelio: Tonight. 

Lina: But why?

Stiffelio: Listen.

From this point forward, we must go our separate ways. I have resigned myself to my way: I will go down my path and live only for God. Your way must be to marry the man you have chosen and save yourself from dishonor.

Lina: What are you saying?

Stiffelio: When we were married, I was being persecuted everywhere, so I signed the marital contract under an assumed name. Under the law, this means that our marriage can be dissolved. And here is what will do it. ***

*He presents her with a bill of divorce.*

Lina: OH MY GOD WE’RE GETTING A DIVORCE?!?!?!?!?!

Stiffelio: I’ve already signed it. Sign your name next to mine.

Lina: RODOLFO I KNEW THAT I WAS GOING TO GET A FATAL BLOW HERE BUT I THOUGHT THAT I WAS AT BARE MINIMUM WORTHY OF REPROACH BUT INSTEAD ALL I GET FROM YOU IS HORRIBLE BITTER CONTEMPT SO GO AHEAD AND KILL ME BECAUSE I WOULD DIE FOR YOUR LOVE

*She starts sobbing.*

Stiffelio: Oh, I see. You hoped that by crying, you would make me less upset. You really thought that it could make everyone forget what you’ve done? You really thought that it would make me not care about the dishonor you have brought upon us and welcome you back? Well, YOU’RE WRONG BECAUSE OFFENSES TO HONOR LAST AS LONG AS OUR VERY SOULS

Lina: FINE GIVE ME THAT PAPER

*She takes the bill of divorce from him and sits down at the table.*

Stiffelio: You’re signing it?

Lina: Yes.

Stiffelio: After all that...ARE YOU KIDDING ME?!?!?!?!

*Lina signs the bill and hands it to him.*

Lina: You thought my tears were insincere. Here is the proof that they are not: I would rather divorce you and convince you of my sincerity than not divorce you and you live the rest of your life not knowing the truth. We are both free now and there is nothing between us anymore. Now I can tell you…

*Stiffelio turns to leave.*

No, listen!

Stiffelio: NO MORE OF THIS

Lina: I WANT YOU TO LISTEN TO ME

*She holds him back from leaving.*

Now I turn to you, not as my husband, but as a minister, because even sinners and criminals can be welcomed into heaven...and I beg you to listen to me, not as your wife, but as a sinner.

Stiffelio: PLEASE JUST GO

Lina: NO LET ME CONFESS EVERYTHING

*She throws herself at his feet.*

Stiffelio: What? You? What am I going to hear?

Lina: What my husband did not want to hear.

My husband offered an agreement to make me the wife of another man...as if I could ever find any peace in this world after losing him...as if I would be fine with paying that price just to regain my honor...AS IF I COULD LIVE KNOWING THAT HE DESPISES ME…

Stiffelio: Enough of this, please…

Lina: To be the wife of another man! So you don’t understand how much I love you--

Stiffelio: LOVE??? What do you MEAN, “LOVE”???

Lina: I have always loved you--

Stiffelio: What are you saying???

Lina: I HAVE ALWAYS LOVED YOU--

Stiffelio: WHAT ARE YOU EVEN SAYING???

Lina: --AND I STILL LOVE YOU!!! And I call upon God as my witness.

Stiffelio: BUT WHAT ABOUT RAFFAELE

Lina: HE BETRAYED ME

Stiffelio: HE BETRAYED YOU???

Lina: YES

Stiffelio: WELL LET HIM DIE THEN AND I HAVE THE RIGHT TO KILL HIM--

Lina: OH MY GOD

Stiffelio: HE’S IN THERE--

*He goes towards the room where Raffaele was, but at that moment, Stankar emerges from the room, holding a sword covered in blood.*

Stankar: He is no more.

Lina: wait WHAT

*Jorg enters from another door.*

Jorg: DID YOU MURDER HIM

Stiffelio: WERE YOU TWO DUELING AGAIN

Stankar: I made him atone for what he’s done. Besides, he could have revealed everything to everyone else and now he can’t do that because he’s dead.

*He leaves.*

Jorg: Come with me to the church; you’ll find strength there…

Stiffelio: YES LET’S GO THERE AS QUICKLY AS POSSIBLE BECAUSE ALL THIS PLACE HAS ARE SIN AND DEATH LET IT STAND AS AN EXAMPLE TO ALL SEDUCERS ABOUT HOW THEIR ACTIONS CAN RUIN LIVES BECAUSE GOD HAS CURSED THIS PLACE AND STRUCK IT WITH DISGRACE

Lina: NO ONE ON EARTH CAN EASE MY SORROW AND I WILL NEVER BE FORGIVEN FOR THIS PLEASE MERCIFUL GOD GIVE ME YOUR FORGIVENESS I’M BEGGING YOU FROM MY HEART WHICH NEVER SINNED BECAUSE I DIDN’T WANT ANY OF THIS

Stiffelio: GOD HAS CURSED THIS PLACE AND STRUCK IT WITH DISGRACE

Lina: I WILL NEVER BE FORGIVEN FOR THIS EVEN THOUGH I DID NOT SIN OF MY OWN FREE WILL

*Stiffelio is led out by Jorg; Lina goes into one of the rooms.*

WARNING:

If you have not seen this opera, I strongly recommend that you stop here and click on “Scene 2″ right below this, which will take you to a video of the final scene, and then watch it. DO NOT READ AHEAD. If you do before watching the scene, do not pass go, do not collect $200, go straight to Monopoly Jail.

But seriously, if you’re unfamiliar with this opera, do NOT read the final scene before you watch it. You will thank me later.

Scene 2:

Later that morning. The interior of the castle church, in the Gothic style. A pulpit stands at center with a staircase leading up to it. The congregation enters little by little as an organ plays. Federico and Dorotea enter. Then Lina, covered by a veil, enters at right; Stankar enters at left. Everyone kneels and begins to sing.

Federico, Dorotea, and Congregation Members: Dear Lord, do not punish me in Your anger…

Lina: Dear God, I place my trust in You; have mercy on me...

Stankar: I have killed the man who dishonored me…

Federico, Dorotea, and Congregation Members: ...or I shall melt away as mists before the sun…

Lina: ...do not deny me Your goodness...

Stankar: ...in order to save the honor You gave me...

Federico, Dorotea, and Congregation Members:  ...have mercy on me, Lord...

Lina: ...God have mercy on me...

Stankar: ...God forgive me...

Federico, Dorotea, and Congregation Members: ...and I will sing Your praises forever!

Lina: ...do not deny me Your goodness!

Stankar: ...as You once forgave the repentant David!

Lina, Stankar, Federico, Dorotea, and Congregation Members: Do not punish us! Have mercy on us, O Lord!

*Stiffelio and Jorg enter the church from the right, wearing their black ministerial attire. Stiffelio is carrying the Bible. *

Jorg: You there, Stiffelio?

Stiffelio: I’m here.

Lina: (I’ll hear him speak again!)

Federico, Dorotea, and Congregation Members: Have mercy…

Stiffelio: *passing by Lina and not recognizing her* Who’s that woman?

Lina: (He didn’t recognize me!)

Stiffelio: Jorg, please, stay here.

Federico, Dorotea, and Congregation Members: Have mercy…

Jorg: Take heart. Everyone here is placing their hopes in you.

Federico, Dorotea, and Congregation Members: Have mercy…

*Lina lifts her veil.*

Stiffelio: (Oh God!)

Jorg: What is it?

Stiffelio: She’s here…

Jorg: Remember where you are. Have courage.

Stiffelio: Alright…

Federico, Dorotea, and Congregation Members: Have mercy…

Stiffelio: ...But everything is just all mixed up in my head and my thoughts escape me...

Federico, Dorotea, and Congregation Members: Have mercy…

Jorg: Go up there, open the Bible to a random page, and just talk about whatever you open it up to. God will inspire you.

Stiffelio: Alright, that’s a good idea.

Jorg: Take heart.

Federico, Dorotea, and Congregation Members: Have mercy…

*Stiffelio climbs the staircase and takes his place at the pulpit, doing as Jorg told him. Once he has opened the Bible, he begins to read in a trembling voice.*

Stiffelio: “Then Jesus turned to the assembled people and pointed to the adulteress who was at His feet, and spoke thus:...” ****

Lina: (Oh God!)

Stiffelio: “‘Let him among you who has never sinned cast the first stone…’”

Jorg: What are you saying?

Lina: (Is he going to finish?)

Stiffelio: “And the woman...the woman...arose, forgiven.”

Jorg: Stiffelio, what are you doing?

Lina: OH GOD

*She collapses in front of the pulpit and Stiffelio places his hand on the Bible.*

Stiffelio: Forgiven...forgiven...GOD HAS SPOKEN SHE IS FORGIVEN

Stiffelio, Stankar, Jorg, Federico, Dorotea, and Congregation Members: GOD HIMSELF HAS PRONOUNCED IT SHE IS FORGIVEN

*Lina stands up and lifts her hands.*

Lina: THANKS BE TO GOD

*General thanksgiving.*

Notes

THE END

Up Next: I was supposed to make my grand return with Faust, but this opera has been on my mind virtually nonstop recently, so this is my attempt to get it out of my head (success: debatable). However, unless I have this problem again, Faust will be up next. :)

[infinitelytheheartexpands]

Lamberto Gardelli, you know I love you and your recording of Guillaume Tell, but WHY is your pas de soldats so lackadaisically SLOW

[theothersideofthecinema]

HISTOIRE DE TOURNAGE : « KING LEAR » DE GODARD RACONTÉ PAR CEUX QUI L'ONT VÉCU

Hélène Lacolomberie - 26 mai 2021

C'est l'histoire d'un film maudit, au tournage chaotique, à la sortie balbutiante, et longtemps oublié sur des étagères. Retour sur l'aventure de King Lear de Jean-Luc Godard, racontée par Menahem Golan et Yoram Globus (producteurs), Norman Mailer (scénariste et interprète), Woody Allen (interprète), Julie Delpy (interprète), Molly Ringwald (interprète), Michèle Halberstadt (interprète), Hervé Duhamel (assistant réalisateur), Jean-Pierre Gardelli (distributeur). Et bien sûr, par JLG lui-même.

Jean-Luc Godard sur le tournage de King Lear (1987)

1986 : Menahem Golan annonce à Cannes avoir signé avec Jean-Luc Godard pour un projet autour du Roi Lear. Tout commence à la fin d'un repas, et les souvenirs des deux parties sont parfois contradictoires.

Jean-Luc Godard : Je suis entré en contact avec Menahem Golan au Festival de Cannes par l'intermédiaire d'un agent artistique.

Menahem Golan : Godard m'appelle. Il me dit : « Je suis Jean-Luc Godard, je suis au bar du Carlton, pouvez-vous me rejoindre ? » Il me propose deux adaptations de Shakespeare dont King Lear.

Jean-Luc Godard : C'est Golan qui m'a proposé de faire un film pour la société qu'il animait avec Globus et j'ai accepté. N'ayant pas de projet existant à l'époque, j'ai proposé une approche du King Lear de Shakespeare, et Cannon a dit oui.

Deux lignes ont été signées sur une nappe de l'hôtel Majestic, un budget d'un million de dollars décidé.

Menahem Golan : Nous avons alors tous les deux signé un contrat en dix minutes sur la serviette en papier du bar du Carlton. Ça vient de mes années de théâtre en Israël : j'avais l'habitude de noter des choses sur un napperon parce que quand j'ai une idée, je veux la concrétiser immédiatement. Figurez-vous que j'ai même reçu une offre du MoMA de New York de 10 000 $ pour ce napperon !

Jean-Luc Godard : Mais il y a eu un vrai contrat plus tard, style américain, de quatre-vingts pages.

L'accord entre Golan, son cousin et associé, Yoran Globus, et le cinéaste se fait donc rapidement. Seul cahier des charges : avoir terminé le film pour l'édition suivante du festival. L'association est a priori incongrue, mais elle a ses raisons : Golan et Globus, qui dirigent la Cannon, cherchent une forme de reconnaissance du milieu, après avoir produit des films avec Stallone ou Chuck Norris. Ils se tournent alors vers des cinéastes comme Altman, Schatzberg, Liliana Cavani... Et donc, Godard.

Menahem Golan : Je n'étais pas que le producteur de Chuck Norris. À l'époque, j'avais produit Kontchalovski, Zeffirelli... J'ai quand même produit Love Streams de Cassavetes, qui a gagné l'Ours d'or à Berlin ! Et Godard était alors le roi des auteurs, ses films se vendaient partout.

Les deux hommes décident d'engager l'écrivain américain Norman Mailer pour bâtir le scénario, chacun en revendiquant l'idée.

Menahem Golan : Je ne suis allé qu'une seule fois sur le tournage. Mais j'étais très impliqué dans le casting. C'est moi qui ai eu l'idée de confier le rôle de Lear à Mailer. Godard a aimé l'idée. Ce ne fut pas dur de convaincre Mailer, vu qu'il admirait Godard.

Jean-Luc Godard : L'idée de Norman Mailer était de moi. C'est quelqu'un que j'admire assez, dont j'aime certains des romans, et surtout certains des reportages. À l'époque, je voulais faire un document sur lui, sur lui et ses filles. Particulièrement sur l'une d'entre elles, qu'il préférait. C'était un peu du cinéma-vérité, un mélange en tout cas. Il était d'accord. Il devait en outre jouer dans le film, 250 000 dollars pour dix jours, ça n'était pas donné. Il jouerait, c'était spécifié dans le contrat, « son propre rôle ainsi que des membres de sa famille ». Il a accepté.

Mailer transpose le classique de Shakespeare dans l'univers de la mafia, fait de Lear un Don Learo. Il insiste pour tenir le rôle-titre, et sa propre fille jouera Cordelia. L'histoire se passe juste après Tchernobyl, le monde est contaminé, la culture est moribonde. Et les œuvres du dramaturge anglais ont disparu des bibliothèques.

Jean-Luc Godard : Il a été convenu qu'il écrirait « une modernisation » du Roi Lear, et il l'a fait – bien payé – sous le titre de Don Learo.

Norman Mailer : J'ai finalement décidé que la seule manière de faire un Lear moderne, et c'était ce que voulait Godard, était de le transformer en parrain de la mafia. Dans la sphère de ce que je peux concevoir, je ne voyais personne d'autre capable de déshériter sa fille parce qu'elle refuse de lui dire comment elle l'aime. J'ai donc écrit un scénario, intitulé Don Learo, qu'à ma connaissance Godard n'a jamais lu.

Jean-Luc Godard : Mailer n'y mettait pas beaucoup de cœur. Il me donnait des pages et des pages de la pièce originelle, annotées en marge d'une petite écriture « bad », « good »...

Norman Mailer : Godard restait assis là dans une forme de dépression si profonde qu'elle en était presque palpable. Et à la fin du déjeuner, il disait : « je retourne en France, je vous reverrai tous dans un mois environ, puis nous chercherons un endroit pour tourner le film. »

Malgré tout, JLG réalise les premières prises de vue, sur ses terres bien-aimées en Suisse, au bord du lac Léman. Et se met rapidement Mailer à dos.

Hervé Duhamel : Godard ne savait pas vraiment où il allait. Il fallait faire quelque chose rapidement, calmer Golan... Un type comme Mailer pose beaucoup de questions. Ils ont eu une longue discussion, ce que Godard n'aime pas. Godard a commencé de très mauvaise humeur.

Menahem Golan : Il était convenu que la propre fille de Mailer joue Cordelia. Mais c'est là que les problèmes ont commencé. Mailer est parti pour la Suisse et Godard lui a demandé un tas de choses pas vraiment convenables.

Norman Mailer : Quand nous sommes arrivés à l'hôtel, avec ma fille Kate, il voulait commencer à tourner tout de suite. Il m'a donné un texte. J'avais du mal à jouer Lear. Il m'a dit : « ici, vous serez Norman Mailer ». Il m'a donné un autre texte, qui était épouvantable, même en restant indulgent. Par exemple, j'étais au téléphone et je devais dire des choses comme : « Kate, Kate, descends tout de suite, j'ai fini mon scénario, c'est superbe ! » Godard tournait, et nous, nous devions dire ces horreurs. Je lui ai dit : « Écoutez, je ne peux pas dire ce texte. Si vous me donnez dans le film un autre nom que le mien, je dirai tout ce que vous voudrez. Si je dois parler en mon nom propre, alors je veux écrire mon propre texte. Dans ce cas, il fallait me demander de l'écrire, ou au moins me consulter avant de m'en faire dire un autre. » Il était très ennuyé et a dit : « On arrête le tournage pour aujourd'hui ».

Selon Godard, c'est Mailer qui joue les divas et le place dans une situation embarrassante.

Jean-Luc Godard : J'avais des liens avec Norman Mailer, un peu. Je lui ai proposé de m'introduire là-dedans, avec son avis. Comme il a une famille, et d'après ce que j'avais entendu dire, du Roi Lear... La manière dont vivait Norman Mailer, qui est un petit potentat, qui a son royaume ! Avec sa famille ! Avec trente-six femmes ! Soixante filles ! Sa maman ! Enfin, beaucoup de choses... Je lui ai proposé de le filmer chez lui tout en parlant de ça, mais sous son vrai nom ! Et que lui, m'aide à... Je crois qu'il n'a pas compris ça, ou qu'il n'a pas voulu le comprendre. Et quand il a vu qu'il fallait vraiment... On a tourné un plan, et après un plan, il est parti. Et donc, je me suis retrouvé, là... Il fallait faire quelque chose, parce que les délais juridiques de livraison approchaient. Et donc, lui... est parti !

Le lien avec la pièce originale est plus que ténu. Loin d'être une adaptation, le film se veut davantage une réflexion autour de l'œuvre. Une direction assumée par JLG, qui choisit comme carton de début « a study, an approach ». « A clearing », même. D'ailleurs, il se targue de n'avoir jamais lu la pièce.

Jean-Luc Godard : C'est vrai. Je n'ai pas lu la pièce de Shakespeare. Et je ne l'ai pas lue depuis. Ce qui m'intéressait, c'était un vieux roi, dont une des filles ne parlait pas. Qui disait seulement « nothing ». J'ai lu plusieurs traductions. On ne peut pas traduire Shakespeare, pas plus que Pouchkine, que Racine... J'ai vu des adaptations, j'ai vu un film russe, dont j'ai mis un extrait dans le mien, un Kozintsev, je crois. Et j'ai vu les Shakespeare de la BBC à la télé.

Ce qui intéresse Godard, c'est la possibilité de l'Angleterre.

Jean-Luc Godard : Moi, mon envie c'était... — ou mon désir —, c'était de m'approcher, si vous voulez, d'un continent que je ne connais pas. Ça m'intéressait, moi qui ai une éducation classique, latine, de traiter le barbare Shakespeare. Cela passait par les borborygmes anglo-saxons. J'ai voulu faire un film intraduisible. À l'époque, j'avais déjà envie d'une approche ethnologique de Lear, d'une sorte de documentaire. L'idée m'était venue d'explorer une autre terre à travers une autre langue, et je voulais demander à des amis de me servir de guide.

Ce qui l'intéresse aussi, c'est la relation entre Cordélia et son père.

Jean-Luc Godard : Un analyste pourrait me dire pourquoi j'ai choisi Lear, qui est une tragédie de la paternité : je n'ai pas d'enfant. Quand Norman Mailer a eu à parler de ses relations avec sa fille, ça a été fini en un quart d'heure. Il était incapable de se montrer dans une relation d'inceste.

Norman Mailer : Est-il normal de demander à quelqu'un de jouer, en son propre nom, une relation d'inceste avec sa fille ?!

Menahem Golan : Un jour, Mailer m'appelle : « Menahem, je me tire, il veut que j'embrasse ma fille ». – Eh bien, fais-le !. – Non, non, non. Il tient absolument à ce que je mette ma langue dans sa bouche ; c'est MA fille !«

Norman Mailer : Travailler avec Godard a probablement été l'expérience la plus désagréable de toutes mes années d'écrivain. Pour un auteur, Godard, c'est l'enfer.

Deuxième difficulté pour Godard : le casting.

Jean-Luc Godard : J'avais contacté Laurence Olivier, et puis... il était mort ! Et puis, j'ai contacté Bergman, dont j'avais lu qu'il avait monté le Roi Lear en suédois. Et puis surtout Orson Welles qui avait toujours eu ce projet — du reste, on a donné de l'argent à Orson Welles, mais hélas ! il est mort trois mois après. Et le premier projet c'était de faire simplement un entretien avec Orson Welles pendant deux ou trois jours, dans une espèce de garage de voitures d'occasion à Los Angeles, qui serait tenu par trois filles. Et de le faire parler du Roi Lear et de le filmer en train de faire ce qu'il voulait. Comme il avait toujours besoin d'argent, il était prêt à ça. On a même demandé à Richard Nixon de jouer le rôle. On lui offrait 500 000 dollars pour un jour de tournage. Il a hésité.

Ce sera finalement Burgess Meredith qui héritera du rôle-titre. L'acteur, qui n'est pas seulement le Mickey de Rocky, apporte avec lui tout un pan du cinéma classique, de Frank Borzage à Jean Renoir, et, surtout, Otto Preminger.

Jean-Luc Godard : Burgess a une tradition disons... théâtrale. Il a une belle voix aussi ! J'étais content d'avoir cette voix-là.

Le metteur en scène de théâtre Peter Sellars joue Shakespeare Junior. Cette fois, l'entente est parfaite.

Jean-Luc Godard : Sellars a beaucoup aidé, dans la traduction, les idées, et aussi par sa très grande ingéniosité.

Autre curiosité : la présence de Woody Allen. Le réalisateur, qui vient de terminer Hannah et ses sœurs, joue un monteur de films nommé Alien, couturier vaillant qui tente de ressusciter la pellicule avec des épingles à nourrice. Une brève apparition, après le générique, qui lui a laissé des souvenirs mitigés.

Woody Allen : Godard était très évasif sur le sujet du film. D'abord, il a dit qu'il s'agirait d'un avion qui s'écrase sur une île. Puis il a dit qu'il voulait interviewer tous ceux qui avaient fait un Roi Lear, de Kurosawa au Royal Shakespeare. Il a dit que je pouvais dire tout ce que je voulais dire. Il joue très bien l'intellectuel français, avec sa barbe naissante et une certaine ambiguïté.

Jean-Luc Godard : Woody Allen, je lui ai demandé une fois, il a accepté. Il m'a dit : « Pour vous et pour Bergman, j'accepte. » Il a donné un jour. Dix mille dollars : en échange, on ne mettrait pas son nom... et il est venu à l'heure ! Très régulier ! Absolument parfait, comme les Américains. Moi, je croyais qu'on avait jusqu'à dix heures du soir, et lui avait compris jusqu'à cinq heures. Je pense qu'on s'est mal compris. Et quand il est parti, je lui ai dit : « Ah, bon, on n'aura pas le temps de finir ! Comment on va faire ? Peut-être que je vais essayer de supprimer quelques plans ». Et il m'a dit : « Oh ! Yes ! It would be nice if you can cut a few things ! ». Et il est parti à cinq heures ! Tout à fait correct.

Woody Allen : Quand je suis arrivé pour le tournage, il portait un pyjama – haut et bas –, un peignoir et des pantoufles et il fumait un gros cigare. J'avais l'impression étrange d'être dirigé par Rufus T. Firefly, le personnage que joue Groucho Marx dans La Soupe au canard, vous savez, quand Groucho est censé être un grand génie et que personne n'ose le remettre en question.

Menahem Golan : Godard a filmé Woody une journée à New York, il n'en a pas fait grand-chose. Après, Woody était furieux contre moi !

Woody Allen : Ce fut l'une des expériences les plus stupides que j'aie jamais vécues. Je serais étonné d'avoir été autre chose qu'insipide.

La distribution, internationale, compte aussi Molly Ringwald – alors célèbre pour ses rôles d'adolescente chez John Hughes –, mais aussi les tout jeunes Julie Delpy et Leos Carax, ainsi que la productrice Michèle Halberstadt dans une brève apparition. Pour eux, par contre, tourner devant la caméra de JLG est synonyme de bonheur.

Molly Ringwald : Grâce à la façon dont Godard a éclairé le film, à son sens de l'humour, et à son approche minimaliste du maquillage, je pense que je suis plus belle dans ce film que dans d'autres films, probablement pour cette raison. Et quand je lui ai demandé pourquoi il m'avait choisie pour le rôle, il m'a répondu que c'était « parce que Cordelia était une princesse et que j'étais la plus proche à l'époque de ce qu'est une princesse en Amérique, c'est-à-dire une actrice, une actrice adolescente ».

Julie Delpy : J'avais déjà vu beaucoup de films de Godard. Mon père m'a emmenée voir ses films quand j'avais neuf ans. J'étais très impressionnée de travailler avec lui. Godard est quelqu'un de très positif. Et de très encourageant.

Julie Delpy : Il est très drôle. Il est coriace. Pas avec les jeunes acteurs. Il est dur avec les gens qui ont une certaine attitude. Par exemple, c'est difficile pour lui de travailler avec des stars – ce que je comprends parfaitement. Si les gens commencent à se croire supérieurs, il va les briser. Il peut être vraiment dur. Avec moi, c'était la personne la plus gentille qu'on puisse imaginer. Si doux, si protecteur – j'étais une jeune fille totalement perdue et apparemment pas prétentieuse. Il est donc adorable avec les gens simples. Le plus gentil qui soit.

Michèle Halberstadt : J'avais fait la connaissance de Godard à Cannes, où nous avions eu un échange un peu houleux lors d'une conférence de presse très médiatisée, à la suite de quoi il m'avait offert un petit rôle dans King Lear. J'avais ainsi passé une nuit assez incroyable sur le tournage, dans la petite salle de cinéma de Rolle, aux côtés de Julie Delpy, Leos Carax et Burgess Meredith. Ma scène consistait à incarner la rédactrice en chef du New York Times et à deviser, assise dans la salle, avec Freddy Buache, le directeur de la Cinémathèque de Lausanne et Godard lui-même.

En voix off, enfin, Godard se fait chef d'orchestre, démiurge freudien, quand il n'interprète pas un certain professeur Pluggy, excentrique à cigare, dans une mise en abîme joyeusement foutraque. Dès la projection des premiers rushes, les producteurs sont déroutés. Et pourtant, Godard s'applique, travaille la photo, les plans de nature, parle en creux de cinéma.

Menahem Golan : Vous savez quel était le vrai rôle principal ? Un cheval blanc ! Godard avait fait du cheval la star du film. Un désastre ! Après deux semaines de tournage dans son jardin, on a dû reprendre le casting à zéro.

Jean-Luc Godard : mon film s'est construit au montage, au moment où le réalisateur travaille physiquement le présent, le passé et l'avenir.

Et puis, il a aussi et surtout les questions d'argent.

Menahem Golan : Chaque semaine, Godard prenait le Concorde pour venir chercher l'argent à Los Angeles et repartait tourner en Suisse.

Jean-Luc Godard : Pendant un an, Cannon a continué à m'envoyer quelques chèques. Mais ils étaient sans provision... C'était le début de l'histoire du Crédit Lyonnais.

Pour Golan et la Cannon, King Lear est un flop retentissant. Première catastrophique à Cannes en 1987. Vague sortie dans quelques salles Art & essai aux États-Unis. Critique cinglante et impitoyable. Et le public qui boude le film.

Menahem Golan : À la projection cannoise, la salle était pleine au début, vide à la fin ! Moi, j'étais complètement disposé à produire un film de Godard, un film d'avant-garde, tout ce que vous voulez, du moment que j'avais au bout un FILM ! King Lear n'est pas un film, c'est un « mishmash », des bouts de pellicule assemblés n'importe comment. J'étais très déçu du résultat.

Les producteurs bloquent le film, menacent de porter plainte. Sous prétexte, notamment, que Godard a utilisé des conversations où les deux parties évoquent l'avancement du tournage. Mais la société Cannon fait faillite, ce qui coupera court aux démêlés juridiques.

Menahem Golan : Quand j'ai découvert le film, j'ai été scandalisé de voir que Godard avait utilisé nos conversations téléphoniques privées. On nous entend parler de la situation financière du film, tout cela à mon insu. Il était trop tard pour faire marche arrière, le film devait être montré à Cannes, je ne pouvais plus rien y faire.

Yoram Globus : Godard est un génie. Et comme tout génie, il fait des bons et des moins bons films. Malheureusement, on a eu droit à la seconde catégorie.

Menahem Golan : Les seules personnes qui peuvent accorder du crédit ou de la valeur à King Lear sont les critiques avant-gardistes. À part ça, je suis persuadé que le film est mauvais.

Au cours des années suivantes, au fil des entretiens, Golan soufflera le chaud...

Menahem Golan : Godard et moi ne sommes pas ennemis et je suis fier que mon listing de films sur Internet comprenne un Godard. Je retiens l'aspect positif de cet épisode de ma carrière et de ma vie : j'ai produit un film de Godard.

... et le froid.

Menahem Golan : Excusez-moi, mais c'est un enfoiré. Il n'a jamais tourné ce film sur King Lear. Il a filmé un cheval, et je ne sais plus quoi d'autre, il a filmé son jardin en Suisse. Mais il est venu chaque semaine, en Concorde, à Los Angeles, réclamer de l'argent pour le film. C'est incroyable. Qu'a-t-il fait de cet argent ?

King Lear est peu à peu enterré, projeté de-ci, de-là, à travers le monde, par la seule volonté de quelques institutions, ciné-clubs ou universités.

Menahem Golan : Nous n'avons jamais pu faire distribuer le film normalement parce qu'à chaque fois que nous le montrions aux distributeurs, ils le détestaient et n'en voulaient plus. King Lear a seulement été projeté dans quelques cinémathèques à travers le monde parce que le nom de Godard demeure prestigieux. Nous avons bien sûr perdu beaucoup d'argent, mais à l'époque on s'en fichait, la Cannon se portait bien.

Michèle Halberstadt : Le film n'était jamais sorti en France parce que Golan et Globus avaient fait faillite. Il a ensuite été projeté dans quelques universités américaines.

Jean-Luc Godard : Après, le film a appartenu à la MGM, je crois, un moment aussi au Crédit Lyonnais. J'avais à l'époque écrit au directeur du Crédit Lyonnais pour lui demander, sinon les droits du film, du moins l'autorisation de l'exploiter, de le montrer, pour qu'il soit vu ; mais je n'ai pas eu de nouvelles.

En 2002, Bodega Films, une petite société dirigée par Jean-Louis Gardelli, parvient à racheter les droits du film, qui dormait en réalité tranquillement sur les étagères de la MGM.

Jean-Louis Gardelli : Ils m'ont fait une projection, puis nous avons négocié les droits, normalement, comme pour n'importe quel film de répertoire. Pas plus compliqué que ça. Le tarif était tout à fait normal : pour eux, King Lear est un film qui traînait dans leurs archives comme des centaines d'autres. À la limite, c'est un poids pour eux, ce sont des boîtes qui encombrent des stocks.Je n'avais jamais vu King Lear et je n'en savais pas plus sur ce film. Mais étant admirateur de Godard, l'idée même qu'un de ses films soit inédit me titillait forcément. Ce film, pris dans la faillite de Cannon, lui a échappé, et il y a sans doute du ressentiment de sa part. Nous trouvions qu'il était absurde qu'il ne soit pas vu, et le principal, c'est qu'il le soit.

C'est l'histoire d'un film maudit, au tournage chaotique, et, finalement, profondément godardien.

Jean-Luc Godard : Ce n'est ni une parodie de Shakespeare, ni une parodie de mon œuvre. C'était le but de ça : approcher et désirer recevoir ! Et entendre des sons d'une langue qui n'est pas la mienne mais qui dit la même chose que la mienne, d'une autre manière. S'approcher et recevoir, et puis redonner. Ensuite, chacun s'y reconnaît. Si le travail est bien fait, qu'il y a une bonne opératrice, de la bonne pellicule, un vrai désir... ça suffit pour le film !

SOURCES : Le Nouvel Observateur (mars 2002 et mai 2014), The New Yorker (août 2009), Far Out Magazine (octobre 2020), Film Threat (novembre 2012), Believer Mag (mars 2009), AV Club (août 2007), New Wave Film, les Inrockuptibles (avril 2002), Le Monde (avril 1987), extraits de la conférence de presse à Cannes, retranscription du débat au ciné-club de l'Étoile, le 24 novembre 1987, entre JLG et les spectateurs, Vous avez vu le King Lear de Godard ? (Blow up, ARTE) et The Go-Go Boys : The Inside Story of Cannon Films (Hilla Medalia, 2014).