After a long, lackluster Aureliano in Palmira (friends and I left after the nearly two-hour first act), Opera at Caramoor rallied Sunday afternoon with an admirable if erratic performance of Fidelio which was especially memorable for South African soprano Elza van den Heever’s thrilling first-ever Leonore. Read more »
At the Caramoor Bel Canto Festival’s performance of Aureliano in Palmira (a North American premiere, I believe), a friend who doesn’t go to quite so much opera said, “The music’s fun, but doesn’t Rossini repeat himself?” Read more »
“In the 19 seasons of ‘Bel Canto at Caramoor,’ the annual festival of concert performances at a sylvan country estate in Katonah, N.Y., the artistic mission has remained unchanged. It is rooted in Italian opera of the first half of the 19th century, in the vocally virtuosic bel canto style after which the event is named. And so the sudden and radical departure from that tradition this summer—a leap forward of more than a century to present the Francis Poulenc opera Dialogues des Carmélites—sounded ominous.” [New York Observer]
Saturday evening conductor Will Crutchfield revived Donizetti’s La Favorite—unheard in New York for fifteen years.
Bel Canto at Caramoor is something that I’ve always wanted to attend but never have because … well because frankly I’m just too lazy during the summers, and I’m also a big baby about outdoor performances.
Two operas both alike in dignity, set in dimly lit Renaissance towns ruled by seething, conspiratorial courts.
The big news from Bel Canto at Caramoor’s presentation of Les Vêpres Siciliennes last Saturday is far from unexpected.