Europe backs Monti reforms as Italy crisis hits markets

ROME (Reuters) - European partners urged the next Italian government on Monday to stick to Prime Minister Mario Monti's reform agenda, after his decision to resign early and Silvio Berlusconi's return to frontline politics rattled financial markets.

Monti's surprise weekend announcement that he would quit because Berlusconi's People of Freedom (PDL) party had withdrawn its support for his technocrat government pushed up Italy's borrowing costs and prompted a stock market sell-off.

The campaign for an election expected in February is likely to be fought over Monti's reform agenda which Berlusconi, his predecessor as prime minister, said had condemned Italy to recession and forced him reluctantly to run for a fifth term.

By contrast European politicians and officials warned that Monti's policies must continue to prevent a return of the crisis which brought him to power a year ago, when he was charged with rescuing the euro zone's third biggest economy from the threat of a Greek-style collapse.

"Monti was a great prime minister of Italy and I hope that the policies he put in place will continue after the elections," European Council President Herman Van Rompuy said in Oslo, where he was part of a European Union delegation receiving the Nobel Peace Prize.

The comments echoed similar remarks in the past two days from policymakers ranging from French Foreign Minister Laurent Fabius to the head of the European bailout fund Klaus Regling and European Commission President Jose Manuel Barroso.

With Rome's European allies doing little to conceal dismay at the thought of Berlusconi's return - on a day when his trial on sex charges was also back in the headlines - the billionaire former premier called the EU sniping at him an insult to Italy.

Spanish Economy Minister Luis de Guindos warned that instability there could spill over and put Spain's fragile public finances at risk of further turmoil.

Attention is now focused on whether Monti will enter politics himself, either as a candidate or by endorsing one of the centrist forces that have backed his reforms and made more or less explicit pleas for him to run.

The daily La Repubblica quoted the 69-year-old former European Commissioner as saying that he had not yet made up his mind but was worried by the situation. "I don't know," he was quoted as saying. "If I had to ... describe my feelings today, I would say that I am very concerned."

He has repeatedly warned of the danger posed by the rise of populist, anti-European forces in the region.

CENTRE-LEFT LEADS

Monti's decision to resign once the 2013 budget is approved, probably before Christmas, has brought forward to February an election that had already been expected in March or by the latest April.

Opinion polls suggest Berlusconi has little chance of re-election and he has struggled to reassert his previously undisputed domination of rival factions and courtiers in his deeply divided centre-right party.

The centre-left Democratic Party (PD) under Pier Luigi Bersani holds a strong lead and is likely to form the next government on a broadly pro-European platform, largely in line with Monti's agenda.

Bersani - who hopes that the former European Commissioner will stay on in some capacity, possibly as Italy's president - said on Monday that "precisely because Monti should still be able to be of service to this country, it would be better for him to stay out of the contest".

Berlusconi's strategy appears designed to ensure he retains influence in the next parliament with a substantial voting bloc that, among other things, can protect his business and personal interests.

After several weeks of calm, markets bridled at the prospect of Berlusconi's return to lead the centre-right, just over a year after a financial crisis drove the scandal-plagued billionaire from office to be replaced by Monti's technocrats.

"You can expect a sharpening in anti-austerity, anti-reform rhetoric...and this will probably translate into a higher risk premium on Italian assets," said Goldman Sachs analysts Silvia Ardagna and Francesco Garzarelli.

The main measure of investors' confidence, the spread between Italian 10-year government bonds and their lower risk German equivalent, widened to 362 basis points from 325 late on Friday, reflecting worries over a return to the political uncertainty which dogged Italy last year.

Milan's blue-chip share index dropped over 3 percent, with sharper falls in banking stocks that are seen as most vulnerable to a renewed debt crisis.

"IRRESPONSIBILITY"

Berlusconi's reappearance on the frontline and the prospect of a messy anti-Monti election campaign galvanised attention in Italy and abroad, reawakening memories of the financial and sexual scandals that plagued the media magnate's last government.

Rubbing in the point, the prosecutor in Berlusconi's trial on charges of having sex with a juvenile prostitute accused the 76-year-old of delaying tactics after the young woman failed to appear as a witness.

A barrage of comment from European leaders underlined the concern about Berlusconi's return and the Roman Catholic Church made outspoken and thinly veiled criticism of the former premier that may influence the PDL's conservative voting base.

"What leaves one astonished is the irresponsibility of those who think of arranging things for themselves while the house is still burning," the influential head of the Italian bishop's conference, Angelo Bagnasco, told the Corriere della Sera.

On Monday night, Belusconi issued a terse statement rejecting the negative comments from foreign politicians and media as an offensive interference in domestic affairs.

He said he had always been a "convinced supporter of Europe" and that the comments were "offensive not so much to me personally but to the free choice of the Italians."

With a new government likely to be formed in a few months, Italy's European partners have now started to look more closely at Bersani, the overwhelming victor in a centre-left primary election last month.

A no-frills former communist who is close to Italy's trade unions, Bersani has promised to stick to the promises on fiscal discipline the government has made and has said that Monti is likely to continue playing a role after the election.

While Italy's election laws are likely to give Bersani a strong majority in the lower house, the complicated rules may make it more difficult for him to take control of the Senate, posing a possible risk to the formation of a stable government.

Whoever wins will have to confront a severe recession, record unemployment and a ballooning public debt expected to surpass 126 percent of gross domestic product this year.

The depth of the crisis was underlined on Monday, with data showing GDP shrinking 2.4 percent in the third quarter and industrial production dropping 1.1 percent in October.

(Additional reporting by Luke Baker and Balazs Koranyi in Oslo, Lisa Jucca, Silvia Aloisi, Giancarlo Navach, Alessia Pe, Maria Pia Quaglia in Milan and Francesca Piscioneri in Rome; Editing by Barry Moody, David Stamp and Alastair Macdonald)

Source: http://news.yahoo.com/europe-hails-great-monti-italy-crisis-hits-markets-144333176--finance.html

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Review: Terfel shines in Zurich's odd 'Dutchman'

ZURICH, Switzerland (AP) ? There's scarcely a ship or a sailor to be seen in the wildly revisionist, weirdly anti-colonialist new production of Wagner's "The Flying Dutchman" at the Zurich Opera. But, fortunately, there is Bryn Terfel.

The Welsh bass-baritone was in splendid voice and commanded the stage with mesmerizing, hulking presence as the Dutch mariner condemned to sail the seas until he finds a woman faithful unto death. It may be a slight exaggeration to say Terfel single-handedly redeemed the spectacle that premiered Sunday night ? but only slight.

One night earlier the company presented Verdi's "Un Ballo in Maschera" in a musically vibrant but similarly befuddling production, this one a revival of a staging by David Pountney first seen two seasons ago.

But "Dutchman" was the big news, because it's the first production directed by Andreas Homoki since he became general manager of the opera house earlier this year. With the license that comes from the European fashion of radically reinterpreting standard works, Homoki apparently decided to turn Wagner's romantic ghost story into a cautionary tale about the evils of bourgeois greed and imperialism.

Daland the sea captain becomes head of a shipping company, and his sailors are desk-bound clerks, keeping in touch by telephone on the progress of a returning ship. A map of Africa on the wall marks its ports of call, and Daland keeps a fez-wearing African manservant. Daland's daughter, Senta, and the other women are no longer seamstresses but office workers who sit at typewriters instead of spinning-wheels. And the only time we see a ship among Wolfgang Gussmann's sets is when a painting of a turbulent ocean churns to life and the Dutchman's ship with red sails emerges from the waves.

None of this sheds any particular new light on Wagner's opera, but at least it sticks to the broad outlines of the plot. Things turn really perverse in the final scene, when Daland's crew tries to rouse the ghostly sailors aboard the Dutchman's ship. Suddenly, the African servant morphs into a spear-carrying savage, and the map of Africa goes up in flames. Senta proves her loyalty not by jumping into the sea to join the Dutchman but by shooting herself with a hunting rifle.

Terfel, wearing a fur coat with long brown hair hanging over the collar and streaks of dark makeup that accentuate his piercing eyes, manages to keep his dignity amid all this and creates a searing portrayal of a man possessed. Reprising a role that sounds almost easy for him after his recent exertions as Wotan, Terfel musters stentorian power for the climaxes but sings many passages with a quiet, yearning tenderness.

Anja Kampe as Senta matches him well, singing with warm, penetrating tone, except for some strident high notes. Veteran bass Matti Salminen revels in the role of Daland, even if his voice has lost some of its richness. Conductor Alain Altinoglu whips up considerable excitement in the pit, though there were a few opening night coordination problems with the excellent chorus.

It should be noted that although Zurich opera audiences have come to expect that liberties will be taken, there were more than a few boos when Homoki and his team came out for curtain calls.

For "Ballo," Pountney takes off from the fact that the real King Gustavo III of Sweden was a playwright and theater buff. So Verdi's opera becomes a play staged by the tenor, abetted by his page, Oscar, and a woman who starts off dressed as his nurse but then acts the part of the fortune teller Ulrica.

Anyone who saw the recent David Alden production at the Metropolitan Opera will recognize some similarities: Oscar wears wings; Ulrica takes frequent swigs of liquor, and the opening scene ends with a jaunty chorus line.

In the finale, Pountney gives us not one but three Gustavos ? the king who is assassinated during the masked ball, the king who has directed the show, and the life-size puppet king he carries in and lays atop the prompter's box. It's all a bit bewildering.

Tenor Ramon Vargas brings an urgent lyricism to the role of Gustavo, while soprano Tatjana Serjan displays a striking range of colors as his beloved Amelia. Baritone Alexey Markov is impressive as her husband, Renato, though his sound is more Slavic than Italianate. Mezzo-soprano Yvonne Naef is a vivid Ulrica, and soprano Sen Guo a spirited Oscar.

Perhaps the best thing about the performance is the presence in the pit of octogenarian Nello Santi, who leads a rich, finely detailed performance. Santi provides a rare link to a bygone golden era: He made his Met debut 50 years ago conducting "Ballo" with a cast that starred Carlo Bergonzi, Robert Merrill and Leonie Rysanek.

Associated Press

Source: http://hosted2.ap.org/APDEFAULT/4e67281c3f754d0696fbfdee0f3f1469/Article_2012-12-10-Opera%20Review-Flying%20Dutchman/id-1332e6420540447aa96cbe92b89f1dec

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