American to helm American opera company
As La Cieca indicated previously, Francesca Zambello (center) is going to add the notch of General and Artistic Director of Glimmerglass Opera to her already bulging belt. [NYT] La Zambello is perhaps best known for her exquisite visual taste.
The only Zambello produciton I’ve seen is her Troyens at thet Met, which I quite enjoyed. I especially loved the transition from Act I to Act II. But from everything I’ve read, that’s one of the only well-received productions she has done. What has she done to earn her position in the opera world? Did she have many early successes?
The day-glo red handed, chorus in pit, sliding down coffin Lucia at the Met was classic. You need to find clips of that to fully understand Zambello’s modus operandi.
I directed CARMEN and ELEKTRA with Blatas designing when not so many women were asked to shoulder such tasks,
The success was phenomenal.
To FQ –
Good Lord, woman, don’t just tantalize us. The info you can provide; we should be picking your brain. Is there an adversarial relationship between the director and the designer, and if so, how did you handle it? How do you define the relation of the on-stage to the pit? Above all, I want to hear your personal dealings with the decision to move from soprano to mezzo. How did you discover it was necessary? Was it an emotional crisis for you? Maybe you’ve set these down already somewhere, but I think they are things the next generation needs to know.
Why is Parterre suddenly back to the old version, without the “reply” function?
Liana: we’re doing some technical work on the site for the moment. The “reply” function should return soon.
Thank you for the answer, La Cieca. It happened so suddenly that I was afraid it was my computer gone crazy
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I’ve heard Resnik talk extensively about her move from soprano to mezzo. I imagine it’s written down somewhere. My recollection is that yes, it was traumatic and took her about a year to shift the way she sang. She was guided by a well-known singer whose name I can’t remember. A French baritone perhaps.
Wasn’t it Giuseppe Danise who advised Resnik?
And doesn’t Manuela look fetching in the posted photograph?
I’m glad my humble attempt was able to brighten your day, Cassandra. Perhaps you should drop all the foretelling of doom stuff for a while and teach a writing course at Manhattan Community College? Those of us who sputter away amongst the Great Unwashed will be able to take your night course.