The angel with broken wings, the sound of disappearing nature

Oceane 2022-09-19 20:55:55

We live in an era full of talented singers, but people are always curious about things that don't exist in the future and can't be reproduced, so the castrato comes into our sight. Through limited written records, we imagine castrato singers as a mysterious special group. Under the complex background of the times, the appearance and disappearance of castratos are full of tragic colors. They are both respected and spurned, and their status is both honorable. It is also humble, and life is both lucky and unfortunate. This duality naturally makes the stories and topics of literature and film and television works.
As a representative of them, Farinelli not only broke through the physical limit that human beings thought insurmountable, but also created a myth, and various rumors about him are still talked about with great interest. "This song should only be found in the sky, and it should be heard several times in the world." It is true that we missed hearing the legendary sound of nature is a regret that can never be made up, but thanks to the movie, thanks to the modern sound synthesis processing technology, let us see A clearer, more intuitive or perhaps more accurate direction, Farinelli's singing cannot be copied, how amazing, how shocking and even suffocating it is, we can imagine more boldly and exaggeratedly in this direction. However, I have to admit that the reason why I was interested in this film at the beginning was because of curiosity. The legend and mystery of Farinelli are so attractive, and the music is only a casual appreciation. Since it is impossible to reproduce the original sound, there is no expectation. In the end, it was unexpectedly dumped.
If a person's body is incomplete, his personality may be incomplete because of it, especially when the defect is a special part that represents characteristics and dignity. Farinelli is undoubtedly mentally handicapped, and the fundamental source of his mental handicap is a physical defect. In order to forget that unbearable turning point in his life, and to defend and maintain his only brotherly love, Farinelli deceived himself and forced himself to accept the accidental fall from a horse made up by his brother, but the fragments of memory deeply engraved in his mind still haunt him. When I was lonely and weak, I felt a dull pain, and the pain made it difficult to breathe. Only by relying on opium can I numb myself and get a moment of peace.
People are always like this. Of course, Farinelli does have a proud capital, but he understands better than anyone that singing is the only way and way to prove his existence. Once he loses his voice, the only wealth that he can rely on and use, he is useless. Off the stage, he was cautious, fearful, angry at the flaws in the performance, fearful for the hoarseness of his voice, and a strong sense of insecurity that made him uneasy and at ease. On the stage, he was confident and noble, with extraordinary bearing, performing complex twists and turns. The movement, showing off unparalleled superb skills, after singing the song, the audience cheered and applauded for a long time. Some people were shocked to tears, and some people were so excited that they fainted. Farinelli stood on the stage, with peerless elegance and brilliance, looking at the people who were excited by him without exception. At this moment, it seemed that the whole world was at his feet, and perhaps he also felt dizzy for a moment.
However, Handel sarcastically compares Farinelli to the king's snuff bottle, and ruthlessly exposes the crux of his problem, he is at best a human flesh singing machine. Think about those nobles who don't know how to appreciate music at all, and watching opera is just a pastime after dinner, and then think about the countess, who ostensibly tore off her beloved book and was moved by Farinelli's singing. In fact, she and her automatic The maid who gave her arms to her arms, like other women who were crazy about it, was only unable to control herself because of the orgasm aroused by the singing. The so-called infatuation and praise for Farinelli are all illusory, and Farinelli has never won the respect and recognition he desperately desires and needs. To put it mildly, he is a high-class doll and pet of the nobles. To put it bluntly, he is in their minds. But he is a lowly eunuch, and his social status is no different from that of a juggling clown.
Yes, the reality is so cruel, and Farinelli has no idea. He persuaded himself to refuse to listen to the real thoughts in his heart, not to talk much, not to think too much, and even pretending to be stupid, but he never expected that the psychological defense line that he had built so hard over the years would be so broken in front of the sharp-edged Handel. Powerless. There is always a voice in his heart crying silently, how to release the repression, how to fill the emptiness, how to end the loneliness, all of which cannot be given by the illusory glitz, because what he can never let go of is that he The understanding of music is entangled with his relationship with his brother and his feud with Handel. Handel's contempt for castratism and castrato's voice trampled on his self-esteem and insulted his personality, but it did not prevent him from seeing Handel as the greatest opera master, nor did it prevent him from asking questions about Riccardo's creative level The same as Handel's opinion - Riccardo uses technology instead of inspiration, too much use of modifiers, vibrato and mixing, resulting in the creation of fancy but lifeless, superficial utilitarian and meaningless, not worthy of or even ruined by Farinelli 's voice.
It is the essence of music to awaken the sleeping part of people and touch the deepest soul in people. What Riccardo lacks is not talent, but the drive to pursue the essence of music, because for him the meaning of creation is to maximize the characteristics of Farinelli's voice and tap Farinelli's talent. Farinelli's body was castrated, and Riccardo's true self-creation inspiration also disappeared. In fact, from the day the brothers changed their lives, they were not only each other's only relatives, but also special partners. They share glory and women, and also endure the torment of demons together, and music is destined to be their bond of interdependence and the bondage of mutual restraint.
"Orpheus" has a special symbolic meaning for them. Farinelli regards it as a good medicine to heal the pain of castration, and Riccardo hopes to complete the redemption that covers up the torture of conscience. However, Riccardo, who bears a heavy cross, will never be able to complete the imaginary "Orpheus", although Riccardo never wants to admit it, and Farinelli, when he mischievously threw the "Orpheus" score out When the carriage was still laughing, he was a sober madman, but most of the time, he still chose to endure, tacitly avoiding the truth with his brother, until the unbearable eruption, the brothers turned against each other, and then parted ways. Although "Orpheus" was finally completed three years later and was affirmed by Farinelli, Farinelli's love-hate relationship with his brother has been accumulated and fermented for more than ten years, and the pain is no longer an "Orpheus". Can be lifted.
No matter how far apart, the nightmare that haunts Farinelli is the shackles that bind Riccardo, and only by letting go can they be freed. It was Farinelli's forgiveness and Riccardo's children who created the chance for the two of them to be reborn. I can't comment on whether such a plot design is reasonable, which is indeed beyond my expectations, but I have to admit that since Farinelli has lost his freedom and public singing rights, then the only thing that can be done is to fulfill his wish to become a father, and this child will also be the last work the brothers will create together. In fact, in a way, it was more painful for him not to be able to have the sex life of marrying and having children like other men than not being able to fully display his singing talent and being humiliated and despised by Master Handel. Every time he has a good time with a woman it's just setting the stage for Riccardo to come on stage, and when he's done, he doesn't leave but just sits and watches them make love. When Madame De's proposal was flatly rejected, his rage and despair was heartbreaking. Fortunately, Alexandra has always been by Farinelli's side. She is the only confidante in the world who truly loves him, admires him, pity him, and understands him. For him, she steals Handel's sheet music. For him, she is even willing to be with Riccardo. Having sex in order to conceive a child related to him, such a woman who gave up everything for him with love and righteousness is too easy, without her, the brothers may never reconcile, and Farinelli will never truly Gain inner peace and be reborn.
This film has too many aftertastes, amazing music, gorgeous costumes, and twists and turns of the story, but the most impressive thing for me is the performance of the hero Stefano Dionisi. As a biographical film, the performance of the protagonist directly determines the quality of the film, and Stefano Dionisi undoubtedly did not disappoint the audience. The age of the adult Farinelli in the film spanned 18 years. During these 18 years, Farinelli experienced the chapter of life from obscurity to creating glory to retiring from the palace, and it was also a process of gradual growth of personality and mentality. The tormented mind has always been in a state of struggle and entanglement. When he was young and frivolous, he was competitive, flamboyant, and emotional. When he was alone, he showed loneliness and sadness. After being hit, he trembled uncontrollably, and he seemed to be about to suffocate. , more and more invested, more and more touching. It is not easy to create such a role. Stefano Dionisi not only has a beautiful face that resembles Tom Cruise on the side, but also has a sincere look and expression changes that perfectly interpret Farinelli's complex character and heart. Under his interpretation, Farinelli has Like an angel with broken wings (although this is a rotten phrase, I still think it is so worthy of him) wandering between heaven and hell, the audience can't help feeling pity and moving. In contrast, Riccardo's actor has lost a lot of color, and the stereotyped eyes and wretched expressions are extremely disgusting, not to mention sympathetic and considerate of him.

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Extended Reading

Farinelli quotes

  • Carlo Broschi: I admire your nerve, madame, in daring to defy Handel.

    Countess Mauer: Women are very strong, signor Farinelli. Men's weaknesses make it necessary.

  • Carlo Broschi: [on Riccardo's opera "Orpheo"] You'll never finish it!