I hadn’t seen the Met’s most recent L’Elisir d’Amore since its premiere three-and-a-half years ago, but I would have sworn Bartlett Sher’s production was pretty traditional. But its revival which opened Thursday night featured an edgy, unorthodox interpretation unlike any I’d ever seen or read about. As portrayed by Vittorio Grigolo, Nemorino was a manic self-absorbed, probably bipolar, stalker who—against all odds and good sense—gets the poor girl. One could easily imagine a sequel in which Adina ended up stabbed to death six months after the wedding by her scary new husband. Read more »
Everything about Aleksandra Kurzak’s new disc is a variation on the term “fioritura.” From the fuchsia-colored album design, with the decoratively curvaceous soprano brandishing a bouquet of flowers wearing a patterned ensemble of similar hue, to a collection of arias and scenes that bloom through her spectacular coloratura facility, Bel Raggio is a thing of beauty.
While her first album was a “calling card” recital, designed to showcase her talent across a continuum of popular repertoire, Bel Raggio is devoted exclusively to the work of Gioacchino Rossini. The soprano has made the works of the “master from Pesaro” something of a specialty and his operas have figured prominently in her European career. She adds yet another Rossini heroine to her repertoire when she essays Countess Adele in Le Comte Ory for La Scala in July 2014. Read more »
La Cieca predicts you will be seeing more of the same old puritans at the Met next season, and she’s not just talking about the ones who slouch around during intermission hissing, “You call that a trill?” But uou will also see six new productions (including a Met premiere of a 21st century work) and the local debut of one of opera’s most controversial stage directors. Read more »