Andrew Knapp

Set Designer, Graphic Designer, Photographer, Producer, Director, Writer – that list gives an indication of Andy's eclectic career which has found him as a stage and production manager with the Metropolitan Opera both at the Old and the New, at 21 as the youngest portrait photographer for the then 100-year-old prestigious Bachrach Photographers the nation’s leading photographers, supervisor of the typesetting departments at GTE and GE Capital, having his own typesetting business, raising and showing Borzoi (Russian Wolfhounds), producing dog shows ("only the cast is different"), writing about the Arts in general and specifically about all the operas and recordings he has, in addition to designing and painting sets throughout Fairfield County. Andy along with Stamford Director of Fine Arts George Vollano were producers of the award-winning New Canaan Summer Theatre for 15 years and together they created Stamford's All-School Musical where Andy returned to directing after a 30-year break (he was too busy designing) as well as designing and producing. Though Andy has designed sets for Off-Broadway in New York City, he most prefers working in schools where he can share and instill (think: brainwash) his love of the Arts. In that respect, his 'greatest accomplishments' have been not only the creation of the Stamford All-School Musical, but the group of four murals on the Performing Arts he designed and painted for Joel Barlow High School in Redding and writing the booklets that accompany them. It should be noted that none of the above qualifies Andy to write about opera other than he owns a LOT of opera recordings!

Thoughts on <em>Il trovatore</em>: recordings Thoughts on <em>Il trovatore</em>: recordings

As for complete recordings of Il trovatore, which was discussed at some length last week, there are at least 200 of them, both studio and live.

Thoughts on <em>Il trovatore</em>: the opera Thoughts on <em>Il trovatore</em>: the opera

When asked to express some “thoughts” here about Verdi’s Il trovatore, my immediate thought was “hmm… not a lot to think about there.”

Thoughts on <em>Andrea Chénier</em>: the others Thoughts on <em>Andrea Chénier</em>: the others

There were, of course, other Chénier recordings beyond the truly great ones…

Thoughts on <em>Andrea Chénier</em>: the greats Thoughts on <em>Andrea Chénier</em>: the greats

Quite simply, the singers are not around today who are steeped in the tradition of verismo, or for that matter the later part of the 19th century.

Thoughts on <em>Andrea Chénier</em>: the opera Thoughts on <em>Andrea Chénier</em>: the opera

Doing my research for these “thoughts” ahead of a starry revival in London that opened yesterday, I came across the following review for the Opening Night of the 1962-63 Season.

Thoughts on <em>La Gioconda</em>: the others Thoughts on <em>La Gioconda</em>: the others

Yes, there were other Giocondas if not of quite the same distinction. Chronologically…

Thoughts on <em>La Gioconda</em>: Tebaldi Thoughts on <em>La Gioconda</em>: Tebaldi

Renata Tebaldi had one major advantage over Milanov and Callas (and most other sopranos): she was Italian.

Thoughts on <em>La Gioconda</em>: Callas Thoughts on <em>La Gioconda</em>: Callas

Maria Callas’s official debut in opera was as La Gioconda in 1947 at the arena in Verona.

Thoughts on <em>La Gioconda</em>: Milanov Thoughts on <em>La Gioconda</em>: Milanov

It’s time to discuss Zinka Milanov.

Thoughts on <em>La Gioconda</em>: the opera Thoughts on <em>La Gioconda</em>: the opera

Amilcare Ponchielli’s La Gioconda might not be a perfect opera (though I don’t see why not) but it is one of my favorites…

Thoughts on <em>La Forza del destino</em>: recordings Thoughts on <em>La Forza del destino</em>: recordings

As said at the beginning, I implied I’d rather see Don Carlo(s) and listen to Forza.

Thoughts on <em>La Forza del destino</em>: characters Thoughts on <em>La Forza del destino</em>: characters

It is a measure of Verdi’s genius that throughout the four rambling acts, his musical invention in the service of creating characters never failed him.

Thoughts on <em>La Forza del destino</em>: versions Thoughts on <em>La Forza del destino</em>: versions

Following the composition of Un ballo in maschera, Verdi had gone into a self-imposed retirement, at least musically; he had not composed a note in four years.

Thoughts on <em>La Forza del destino</em>: influences Thoughts on <em>La Forza del destino</em>: influences

I’ve argued with myself for many years as to which was my favorite opera by Giuseppe Verdi, La forza del destino or Don Carlos. The latter finally won out especially after studying it in depth, but in the long run, it is the music of Forza that I love the most.

(Yet more) Thoughts on ‘Don Carlos’: Coronations and finales (Yet more) Thoughts on ‘Don Carlos’: Coronations and finales

In any case, we are now in the Queen’s garden of the Palace in Madrid. It is the day before the coronation of King Philip. Coronation? What coronation?

(More) Thoughts on ‘Don Carlos’: Carlo or Carlos? (More) Thoughts on ‘Don Carlos’: Carlo or Carlos?

The only correct version of  Don Carlos must be in French. That is the language that Verdi composed it in and he made all his revisions in that language.

(Some) Thoughts on ‘Don Carlos’ (Some) Thoughts on ‘Don Carlos’

In online discussion on “Favorite Opera” and cuts in opera in general, it seems Don Carlos (in its original French title) or Don Carlo (as it is better known in Italian) – with or without the “s” – generally get the most votes both as favorite and as an opera from which deplorable cuts are made.