Two recent Paminas feature in concerts at Lincoln Center and Carnegie Hall.
The past seems to be in conversation with the present.
Teatro Grattacielo presented two visions of love’s magic on November 13 and 14—one via Spain and Argentina (in collaboration with Opera Hispánica) and the other via Alsace by way of Italy.
If you have not been following the exploits of Teatro Grattacielo during lockdown, it’s not because they haven’t been exploitatory all over the place.
Without furnishings to distract them, the cast prowled the stage with sinister energy, exchanging significant looks and deadly secrets as though fearing Nihilists behind every drapery.
As the Netrebko-crowned Macbeth took to the stage at the Met, just a few blocks away, Teatro Grattacielo presented its 25th Anniversary Gala Concert.
“Are we Team Guelf or Team Ghibelline?”
Riccardo Zandoni’s Il Grillo del Focolare is an opera after all.
This year’s treat was Vittorio Gnecchi’s Cassandra, completed around 1905
Teatro Grattacielo is New York’s homegrown organization to rescue Verismo operas from oblivion, one per annum, allowing for the occasional double bill.
What we go to Grattacielo for is fresh young voices singing their guts out.
Italo Montemezzi’s La Nave, premiered in 1918 and not performed anywhere since 1938, concerns itself with nautical power, male and female archetypes, love and hate conjoined, sex and death, the eastern and western halves of the Roman Empire — and the visionary future of Old Venice.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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