In terms of elegance and beauty of execution, Renato Bruson is in a class by himself among Donizetti baritones.
A drama/trauma-tic soprano in the model of Gencer and Olivero, Martile Rowland sang a brilliant Elisabetta in Roberto Devereux (a last minute replacement for Zampieri, another controversial pick) at a concert, did half a Puritani at the Met, and sang the other “Gencer” roles such as Paolina in I Martiri, the title roles in Caterina Cornaro and Linda di Chamounix, and then retired to teach in the midwest somewhere(?).
It was thrilling to see and hear Will Crutchfield’s insights come to life onstage in performance when Teatro Nuovo performed Poliuto at the Rose Theater at Jazz at Lincoln Center Wednesday July 19.
Next month in Bergamo Plácido Domingo takes on his zillionth—and possibly final—new role, so Trove Thursday previews it by returning to the same venue 50 years earlier for Donizetti’s Belisario with Leyla Gencer and Renato Bruson, a real baritone as its titular hero.
Even before Italian diva Mariella Devia had completed the stunning high D natural that capped her miraculous portrayal of Elisabetta in Donizetti’s Roberto Devereux Thursday evening at Carnegie Hall, tens, then hundreds of those in attendance leapt to their feet to shout their acclaim.
One of La Cieca’s most trusted spies wangled his way into the house last night for the surprise cast change in Lucia di Lammermoor, and here’s his report: Perhaps it is the side benefit of low expectations, but I was not offended by Anna Netrebko‘s performance on Tuesday night. Though certainly not a bel canto…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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