We associate Italian composer Giuseppe Verdi with many magnificent works from “Aida” to “Rigoletto” — but few know that Verdi considered the 1896 founding of a home for elderly singers in Milan one of his greatest achievements.
Casa di Riposo per Musicisti was established by Verdi to shelter “elderly singers who have not been favoured by fortune, or who, when they were young, did not have the virtue of saving their money.”
Since opening in 1902, it’s housed more than 1,000 retiring artists and musicians.
Swiss filmmaker Daniel Schmid made a documentary about what’s since become known as “Casa Verdi” — the 1984 film “Tosca’s Kiss,” which inspired Dustin Hoffman’s involvement in the 2012 film that marks his directorial debut.
“Quartet” leapt from stage to screen thanks to Ronald Harwood, playwright for a 1999 play titled “Quartet” plus screenwriter for the film.
I read the play before seeing the film, and found Harwood’s original ending profoundly shocking. The film’s ending feels infinitely more vague and allows for a softer sort of landing.
“Quartet” stars Maggie Smith (Jean Horton), Tom Courtenay (Reginald Paget), Pauline Collins (Cecily Robson), Billy Connolly (Wilfred Bond) and Michael Gambon (Cedric Livingston) — which is a majestic marrying of true equals.
They’re residents of a place called Beecham House, set on sprawling pristine grounds and decorated with all the elegance you’d expect in the lap of opera-laden luxury.
One’s ever the diva, another the perpetual tease. Two were once wed, and one dances with the dementia friends meet with tenderness and humor.
Hoffman, a veteran actor recently awarded the Kennedy Center Honor, was attracted by the film’s broader themes and optimism about old age, describing “Quartet” as a film about folks in the “third act” of life who’ve still got plenty to give. Hence the childhood photos of cast members included with the film’s closing credits.
The “Talk Cinema” series at Scottsdale Center for the Performing Arts was practically packed during December’s “Quartet” screening, where I moderated a post-show discussion exploring not only issues of aging, but also the film’s homage to opera and take on the very nature of art.
Harlan Jacobson, the NYC film critic who heads the “Talk Cinema” enterprise, shared audience comments on “Quartet” while in Scottsdale to moderate January’s screening of “On the Road” — noting that most folks described “Quartet” as an “excellent” film they’d recommend to friends.
I remember being struck during “Quartet” by the strength of each performance, the subtle humor that elicited a near-steady stream of gentle laughter from the audience, and photography that juxtaposes nature with the people who sometimes forget their place in it.
My favorite shots pay homage to a lovely grand piano, show the diminutive status of two aging men standing under a towering tree that’ll continue to grow long after the men make their way back to the earth, and capture the shared joy of an aging opera singer with a group of young students rapt by rap.
Folks who favor the soundtrack — which features works composed by Verdi, Schubert, Gilbert and Sullivan, Bach, Hayden, Rossini, Puccini and others — can find it on Decca Records (which is also home to soundtracks for “A Late Quartet” and “Anna Karenina,” plus music from Alfie Boe of “Les Mis” fame).
“Quartet” is rated PG-13 and runs 97 minutes. Click here for information on upcoming “Talk Cinema” screenings at Scottsdale Center for the Performing Arts, and here for news of Arizona Opera’s upcoming performance of “Tosca.”
— Lynn
Note: “Quartet” is produced by Finola Dwyer and Stewart Mackinnon. Cinematography is by John de Borman and editing by Barney Pilling, Production design in by Andrew McAlpine, music by Dario Marianelli and costumes by Odile Dicks-Mireaux.
Coming up: Oscar nods & nixes, Once upon a “Tosca”