Of paunches and princes
Revivals of Falstaff in Milan and Don Carlo in Naples have Larry Wolff thinking across the six decades of Verdi‘s career
Rosa Feola
28 pieces since 2017 — in 8 roles, at 5 companies, most often at Metropolitan Opera.
28
pieces
8
roles
5
companies
10
years
Role Alice Ford
Role Countess Almaviva
I’m getting married in the morning
Washington National Opera presented a well-sung and humorous Marriage of Figaro, buoyed by clever direction and a strong cast, particularly Rosa Feola’s Countess and Joélle Harvey’s Susanna.
Role Gilda
Romantic hero
The main reason to see this revival is Benjamin Bernheim’s Duca.
Romeo and Gilda
The winners of the evening were the composer Riccardo Zandonai and Teatro Grattacielo which pulled off a near-impossible feat with success.
Any old palace
At the heart of this success was Quinn Kelsey’s revelatory take on Rigoletto. He was matched, vocally and dramatically, by Rosa Feola’s Gilda—a tour-de-force performance.
Outsider art
Rigoletto at Circo Massimo was my first opera since the lockdown started in March.
Seductively compelling
Rosa Feola immediately established with her first group that she’s a serious artist who brought to the concert format both a warmly appealing coppery soprano as well as detailed and savvy dramatic instincts.
Into the wooed
We are the elusive, the mysterious, the ever-courted Millennial Audience, Mr. Darcy to the marketing department’s Mrs. Bennet.
Jest you, jest me
Friday night’s Rigoletto at the Metropolitan Opera revealed once again a predictable dissonance between the performances on stage and Michael Mayer’s production.
Meaty content
I’d like to create a pasta dish in honor of Ambrogio Maestri’s art.
Plus a little jest
Verdi’s Rigoletto returned to Lyric Opera of Chicago, a rousing performance both musically and dramatically.
Role Juliet
That which we call a Rosa
Rosa Feola, hailed last year for her Gilda at the Met, brought a level of vocal refinement and elegance to Juliet that substantially elevated the night’s proceedings.
Role Lucia
Mist opportunity
Lucia di Lammermoor at La Scala, starring Rosa Feola, proves as airless as this summer’s heatwaves.
Role Olga
Sleek, unstoppable, electrifying
For me, Fedora is the perfect opera
Poison of interest
Following new productions of Tosca in 2017, Adriana Lecouvreur in 2018, and the Anna Netrebko-led Puccini orgy of 2019, New Year’s Eve at the Met has come to signify that verismo, as this school tends to be known, is still kicking.
Role Susanna
Breaking the box
Jacquelyn Stucker talks to Kevin Ng about repertoire, tearing down the Fach system, and what it takes to make music from baroque to George Benjamin her own.
Down for the Count
An uneven new cast can’t dim the glow of Richard Eyre‘s incisive Le nozze di Figaro at the Met
Role Violetta
Three faces of Violetta
Christopher Corwin surveys the three Traviata casts — led by Lisette Oropesa, Rosa Feola, and Ermonela Jaho — at the Met this spring.
I’ll take the fall
The days are getting shorter, but you can keep the prattle going this fall’s Talk of the Town! You will, you can, you must join in the discussion about: Great mezzo soprano performances (October),
Gained in translation (November), Teleport me back to… (December).
Win a Free Ticket to Opening Night at the Met!
Quinn Kelsey and Lise Davidsen star in the Met's new Macbeth. We're giving away one ticket, so screw your courage to the sticking place and enter now!
