For several seasons, the Met experimented by bringing us a lot of contemporary operas, some with rather sordid books, with mixed results. This year, the Met tries a new (but old) tactic to fill seats. We will have two Bellinis in new productions, La sonnambula and I puritani, with the best possible casts that can be assembled.
Speaking as someone who can’t turn on the news anymore without feeling like I want to throw large objects against the wall, I for one am completely ready to enter a world of enchantment, a fantasyland of trills, roulades and E-flats where the only reality that exists is a neverending loop of gently arching melody.
Bring on Vincenzo, I say. Bel Canto Heaven, I am so there.
La sonnambula returns! While I agree that the opera has its … uh, sillier elements, it also has one of the best ever Act-ending concertatos ever written. LOVE the melody hand-off between different characters and the chorus. This recording is one of my favorites: Renata Scotto and Alfredo Kraus. Can’t get much more bel canto than this.
Mr. Portafiori:
I am really looking forward to Puritani at the Met next season. I first saw the opera at NYCO with Sills and have loved it ever since. I really love the music, beautiful arias, duets, and ensembles I find a thrilling opera.
The one thing I wish they would do is use the ending that the Sills version had. Not many productions include this version, but I think that this version just adds to the joy of the moment and makes for a thrilling finale.
I am looking forward to the new production of La sonnamula at The Met. This year I have fallen in love with Nadine Sierra. She has a remarkable voice and a very compelling stage presence. I just can’t wait to see her and also look forward to seeing what she does with her career. She has a very bright future.
