By the time Roberto Devereux saw its premiere at Napoli’s Teatro San Carlo on 29 October, 1837, Gaetano Donizetti had lost, in an 18-month time frame, both his parents, two still-born children, and his beloved wife Virginia. (Ten years later, the unfortunate composer, after a gradual descent into madness, met a grisly end, from complications of syphilis.) The opera was completed a month after his wife’s death. We can scarcely imagine how the composer, in his grief, summoned up the means to create an opera—and one that so often teems with his richest levels of inspiration. Read more »
The dramatic action of La Sonnambula is delicate as a holiday ornament of filigree glass, and its semiseria naiveté may puzzle a modern public. Staging it is an awkward matter at best, as the recent Met production demonstrated: How can you update a tale of Swiss rustics who refuse to believe in sleepwalkers but insist passionately on the reality of ghosts, virgin brides and honorable noblemen? Read more »
Pyrotechnics abound when Angela Meade stars in Opera Orchestra of New York’s production of Donizetti’s tragic love story, Parisina d’Este, conducted by OONY founder Eve Queler on May 4, 2016 at the Frederick P. Rose Hall at Jazz at Lincoln Center. OONY last performed this opera in 1974 starring Montserrat Caballé. The remaining cast features a group of young international artists including American tenor Aaron Blake in the role of Ugo, Chinese baritone Yunpeng Wang in the role of Duke Azzo, Serbian bass Sava Vemic in the role of Ernesto, and American Soprano Mia Pafumi in the role of Imelda. Don’t miss this thrilling, rare Donizetti gem.! Remaining tickets are on sale at the Jazz at Lincoln Center box office. Read more »
There was a certain frisson in the air entering Chicago Lyric Opera last night, and not just in anticipation of attending the world premiere of a new work by Jimmy Lopez (music) and Nilo Cruz (libretto), Bel Canto. Particularly for those who read Ann Patchett’s splendid novel on which the opera is based, there was a certain sense of danger at attending an opera about a terrorist attack and hostage-taking. Read more »
In this new work, entitled Can Belto, a group of terrorists kidnap and hold hostage Broadway diva Idina Menzel.
The Metropolitan Opera’s much vaunted so-called “Tudor Ring” of three royal operas by Donizetti got off to a bumpy start Saturday afternoon with a revival of Anna Bolena that stubbornly refused to cohere either musically or dramatically.
“Opera can, in fact, be something beautiful and moving even when all a performance has going for it is some really excellent singing.”
“The Met’s production, originally directed by John Copley, is still a hideous, confusing mess. But with Ms. Meade and Ms. Barton acting with moving subtlety, singing generously and feeling deeply, it was hard to care.”
La Cieca is sort of out of words trying to describe what makes a great performance of the role of Norma, as opposed to the conscientious traversal of the notes.