Mariella Devia will augment her already vast bel canto repertoire next year with the role of roles: Bellini’s Norma. Her debut in the part is scheduled for Bologna in 2013.
Bel canto fanciers, diva fanatics and freebie queens alike will be delighted to hear that the Met is offering 2,500 gratis tickets to the September 22 open dress rehearsal of Donizetti’s Anna Bolena, starring Anna Netrebko in the title role. Read more »
Now that it’s more or less official that Elina Garanca is dropping out of the Met’s production of Anna Bolena, it’s obviously up to you, the cher public, to decide who should inherit the role. In interest of gathering the broadest range of opinion on this crucial subject, a poll follows the jump.
A quick clip from today’s telecast of Anna Bolena; unfortunately the sound is slightly out of synch and the stage director is more than slightly “Kulturbanause.” But, still: Anna!
Three of the Met’s most cunning vocalists, Juan Diego Flórez, Joyce DiDonato and Diana Damrau, wrap their tongues around the trio from Le Comte Ory.
Repertory for “Bel Canto at Caramoor” 2011: H.M.S. Pinafore and Guillaume Tell.
As we all already know (those of us addicted to Brad Wilber‘s Met Futures, and who among us is not?) the Metropolitan Opera already has plans to produce two operas of Donizetti’s so-called “Tudor Trilogy.” Anna Bolena opens the 2011-2012 season featuring Anna Netrebko (left) and Maria Stuarda follows on the following season starring Joyce DiDonato, and isn’t La Cieca clever to find photos of these two artists in garb suggesting these as-yet unsung heroines?
Very few things intrigue me as much as analyzing belcanto operas, comparing their several versions and examining the composers’ second thoughts, modifications and revisions that, willingly or unwillingly, they made to their scores. I was already salivating when I heard that the Teatro Comunale di Bologna was going to perform Vincenzo Bellini’s I Puritani in the new critical edition by Fabrizio Della Seta. DECCA, which has released this DVD documenting the 2009 Bologna performances, reports on its cover that this Puritani follows the above-mentioned critical edition, but unfortunately it is not telling the whole truth.
Were the Swan of Catania as immortal as his melodies, he would be would be 209 years old today! Admirers of the “King of Cantilena” are invited to follow La Cieca’s example and post YouTube clips of favorite Bellini morceaux.