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Chargement... L'Hiver du commissaire Ricciardi (2006)par Maurizio De Giovanni
Books Read in 2017 (1,182) Italian Literature (387) Chargement...
Inscrivez-vous à LibraryThing pour découvrir si vous aimerez ce livre Actuellement, il n'y a pas de discussions au sujet de ce livre. Primera del comisario Ricciardi, en el Nápoles de los años 30 y el fascismo este comisario, que tiene el don de ver los muertos y escuchar sus últimas palabras, triste solo y con una gran sensibilidad se enfrenta con la muerte de un tenor. Interesante presentación veremos comosigue la serie. Lástima algunos personajes demasiado arquetípicos el superior fascista, arribista envidioso, mala persona, el ayudante bueno y comprensivo. Tampoco falta la mucama que acompaña a este noble devenido en policía desde la infancia Lo stile è sempre quello di De Giovanni, ma rispetto ai libri della serie de I Bastardi di Pizzofalcone, il commissario Ricciardi non mi ha conquistato nella stessa maniera. Una tristezza di fondo e la tetraggine del periodo non hanno di certo aiutato a farmi amare un personaggio alquanto inconsueto e particolare. Le sue cupe visioni e il carattere chiuso e tormentato, quasi dovesse scontare da solo tutte le colpe del mondo, non facilitano di certo empatia nei suoi confronti. La parte iniziale risulta un po’ lenta, a tratti forse anche moderatamente noiosa, ma la storia pian piano decolla soprattutto con l’entrare nel vivo dell’indagine che si arricchisce di personaggi variegati che danno corpo alla vicenda. Alla fine si legge bene, ma non mi ha fatto desiderare di continuare immediatamente anche con le altre storie di questo protagonista. Effettive 3 stelle e mezzo. ***************************** RILETTURA del 12/2021*************************** Quali sono le componenti che influenzano il nostro giudizio su un libro? Per me non è solo la storia, il contenuto, il modo in cui è scritto e via dicendo, una componente sostanziale è anche il momento in cui lo leggiamo, il modo in cui siamo noi stessi predisposti, il nostro stato d’animo, tutti fattori questi che ritengo determinati per definire la nostra personale valutazione. E sono state proprio queste ultime componenti che hanno fatto la differenza nella rilettura di questo libro che, diversamente dalla prima volta, non stento adesso a definire un imperdibile se non addirittura un capolavoro. Rileggerlo è stato come scoprire un nuovo mondo, nuove emozioni e Ricciardi – e con lui tutti i comprimari - hanno conquistato il mio cuore e la mia mente come non era successo la prima volta, tanto da farmi leggere in un soffio tutti in una volta i primi otto libri di questa bellissima serie. Ognuno ha come sfondo una storia gialla, un delitto che, nella sostanza, alla fine diventa quasi solo lo stratagemma per portare in primo piano una città unica nel suo genere in un momento storico particolare, Napoli, che a sua volta diventa lo scenario perfetto per portare in primo piano e far risaltare ancor di più i vari personaggi con le loro peculiarità e complessità, a cominciare proprio da Ricciardi che con quel suo carattere ombroso e tormentato è riuscito questa volta a conquistarmi in tutto e per tutto. Una serie da leggere assolutamente. Commissario of Police Luigi Alfredo Ricciardi doesn’t need his job, strictly speaking. Financially secure, a rarity in Naples in 1931, and of aristocratic lineage, he could be a gentleman of leisure if he wished, marry a woman with blue blood like his, and live pleasantly, attending parties and the opera. But Ricciardi’s job lends him his sole purpose in life, and the reasons why make him one of the most compelling fictional detectives I know of. He has no friends or family, save a seventy-year-old woman who was his nanny during his childhood, and who feels free to lecture him on his workaholic habits as she serves him dinner, typically an hour before midnight. Neither sociable nor personable, Ricciardi puzzles most of his subordinates—indeed, most people he meets—and if it weren’t for his brilliant track record, nobody would want to work for him. His brigadier, Maione, is the only policeman on the force to realize how everyone misjudges Ricciardi, whose deep green eyes seem perpetually full of sadness. If anything, the commissario feels too much. But even Maione doesn’t know why, or what ghosts lurk in his boss’s mind—literally. Ever since Ricciardi stumbled across a murder victim in his parents’ garden as a child, a scene he privately euphemizes as the Incident, he’s been deluged by empathy for the dead. As he walks around Naples, he hallucinates corpses he’s seen in the past, imagines what they felt just before they died, and, remarkably enough, uses that perception as an investigating technique. That’s how Ricciardi lives his work, for he’s known all his life “that crime is the dark side of emotion.” And oh, by the way, Ricciardi hates opera and its excess of feeling. His singular opinion for his time and place figures in I Will Have Vengeance, for not only does the title come from an opera, the murder victim is a famous tenor. In life, Maestro Arnaldo Vezzi’s singing and stage presence commanded devotion from adoring audiences, but nobody liked him up close, especially not the managers, cast, and crews who had to work with him, and whom he terrorized. Even so, his star power was such that money flowed in his direction, and wherever he performed, he drew packed houses. Consequently, who’d kill the goose that laid so many golden eggs? What provocation would push a member of the opera company to commit that murder and sweep all practicality aside? Those are the questions Ricciardi wishes he could answer, for the killing happened in Vezzi’s dressing room during an intermezzo, which points toward a perpetrator who’d have free backstage access. Besides the hard-working Maione, assisting Ricciardi is a priest who loves opera. Thanks to a network of favors granted and received, Don Pierino Fava manages to witness performances from a spot just behind the curtain, as he does the fateful night in question. At Ricciardi’s request, he explains the opera’s story line and the ins and outs of operatic performance—details that matter to the investigation, dear reader, so pay attention. But it’s not just business between priest and commissario; the good Don Pierino, though flabbergasted that Ricciardi hates opera, also senses the shadow over the man’s soul. I Will Have Vengeance moves like lightning, without waste motion or words, proving once more that a character-driven mystery can be just as riveting and suspenseful as its plot-centered cousin. As with the opera, every detail matters, and all’s in plain sight, something I appreciate. There are no tricks here, no rabbits pulled out of hats. I also like the departmental politics, and how Ricciardi handles his boss, an incompetent with friends in high places, which is to say that the commissario shows him no respect. Occasionally, that allows de Giovanni to work in subtle political commentary about Mussolini or his Fascist regime. Another subplot I like concerns the sole outlet for Ricciardi’s softer feelings, a young woman who lives in a building across from his, and whom he likes to watch embroider at night. Trust me, it’s not creepy, and there’s more going on than even the hawk-eyed Ricciardi can guess. I Will Have Vengeance is a masterful mystery, and I heartily recommend it. Estamos en Nápoles y corre el año 1931, una época en que el fascismo en Italia goza de sus momentos de gloria. Es invierno, y la ciudad parece adormilada por el frío, pero el comisario Ricciardi no para de trabajar. Hombre de pocas palabras, solitario y terco, ha heredado de su madre un extraño poder: ve el último gesto de las víctimas de muerte violenta y escucha sus últimas palabras. Ese don le permite meterse de lleno en las investigaciones, pero le obliga a compartir parte del dolor de quien ha muerto. De ahí sus silencios y su mirada a veces extraviada. En este primer caso vemos a Ricciardi en los camerinos del Teatro San Carlo de Nápoles. Ahí el gran tenor Arnaldo Vezzi, artista admirado por su talento y amigo personal de Mussolini, ha sido brutalmente asesinado justo antes de subir al escenario para cantar I Pagliacci. Poco a poco iremos descubriendo el verdadero carácter de Vezzi y veremos cumplirse una vez más la ley de Ricciardi: las víctimas de un crimen, vengan de donde vengan, hagan lo que hagan, sean pobres o ricas, acaban muriendo por hambre o por amor. aucune critique | ajouter une critique
Appartient à la sérieAppartient à la série éditorialeStile libero [Einaudi] (Big) Tascabili [Fandango] (25) Prix et récompenses
Naples, March 1931: a bitter wind stalks the city streets, and murder lies at its chilled heart. As one of the world s greatest tenors, Maestro Vezzi, is found brutally murdered in his dressing room at Naples famous San Carlo Theatre, the enigmatic and aloof Commissario Ricciardi is called in to investigate. Arrogant and bad-tempered, Vezzi was hated by many, but with the livelihoods of the opera at stake, who would have committed this callous act? Ricciardi, along with his loyal colleague, Maione, is determined to discover the truth. But Ricciardi carries his own secret: will it help him solve this murder? Aucune description trouvée dans une bibliothèque |
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Google Books — Chargement... GenresClassification décimale de Melvil (CDD)853.92Literature Italian Italian fiction 1900- 21st CenturyClassification de la Bibliothèque du CongrèsÉvaluationMoyenne:
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Arnaldo Vezzi, “Mussolini’s favorite tenor,” is killed in his dressing room during an opera performance. A “worthless man” with immense talent, there is no shortage of suspects. Ricciardi’s visions play a small role in building a case and solving the crime. The rest is excellent detective work and his ability to discern the motives and character of people from a glimmer of information. And when Ricciardi does figure it out, there’s a final, humanistic twist to help him achieve the best result for all involved. Except of course, Vezzi, who got what he seemingly deserved. ( )