There is no peace for Verdi in Parma.
As a second production of its Verdi Festival the Teatro Regio presented I vespri siciliani on October 10, starring Giacomo Prestia as Procida, Leo Nucci as Monforte, and the lovebirds Daniela Dessì and Fabio Armiliato as Elena and Arrigo. Read more »
A further complication may be that, at about 90 minutes, its three acts work best performed continuously, as they are in the new DVD
“Saturday night’s Met debut of Vittorio Grigolo in La Boheme was promising enough to suggest the tenor may one day live up to his own hype.” [New York Post]
“So, how is this new Pavarotti?” or, “This young tenor, what’s his name, I saw him on the morning show, is he any good?” When people who have never set foot inside an opera house—and know Maria Callas chiefly as the woman Aristotle Onassis dumped for Jacqueline Kennedy—start asking me such questions, then I know we are in the presence of a huge effort by an assorted team of publicists, agents, and especially recording companies to create a new megastar.
“As the flirtatious Musetta, American soprano Takesha Meshe Kizart won the audience’s hearts with the charm and flair of her personality and a potent upper register, including some formidable high C’s for her Waltz Song.” [AP]
As we count down the weeks until the first live Met Saturday afternoon broadcast of the season, subjects for chat continue in rich array.
Simpler can be better, as Pocket Opera of New York demonstrated in the back of the Bechstein Showroom on Wednesday evening for their double bill of Ravel’s L’enfant et les sortilèges and Debussy’s La chute de la maison Usher. When I heard these operas would be presented in English with piano accompaniment, I was initially dubious, but found myself won over by the strength of the production and the enthusiasm of the singers.
“I saw the dress rehearsal of the Covent Garden Manon, and Vittorio had that metaphysical connection with the audience. I’m convinced of his potential.” [New York Times]
Cher Public