A 1983 concert performance at Carnegie Hall with June Anderson, Marilyn Horne and Samuel Ramey; Henry Lewis conducting.
I need to get something off my chest. I love bel canto.
Come ye addicts of melody! After long eclipse, Bel Canto shines again!
Can a work with indisputably great music fail to add up to a successful opera? I puzzled over that Sunday during Teatro Nuovo’s essential concert staging of Rossini’s La Gazza Ladra at SUNY Purchase.
“To be fair I think it was only on one screen. . . . And more importantly I’ve seen it and it’s terrible.”
Edita Gruberova essentially revived and propagated the bel canto repertoire in central Europe, specifically in the German-speaking countries.
Will Crutchfield’s Bel Canto at Caramoor program of concert operas concluded with a bang on Saturday with Bellini’s first success, Il Pirata.
I was hopeful that my next operatic engagement would offer greater rewards: Norma at the Edinburgh Festival.
In how many operas does the heroine drink poison and then go lengthily mad?
By the time Roberto Devereux saw its premiere at Napoli’s Teatro San Carlo on 29 October, 1837, Gaetano Donizetti had lost, in an 18-month time frame, both his parents, two still-born children, and his beloved wife Virginia.
Bellini blossomed over us like a love fest.
There was a certain frisson in the air entering Chicago Lyric Opera last night, and not just in anticipation of attending the world premiere of a new work by Jimmy Lopez (music) and Nilo Cruz (libretto), Bel Canto.
In this new work, entitled Can Belto, a group of terrorists kidnap and hold hostage Broadway diva Idina Menzel.
The Metropolitan Opera’s much vaunted so-called “Tudor Ring” of three royal operas by Donizetti got off to a bumpy start Saturday afternoon with a revival of Anna Bolena that stubbornly refused to cohere either musically or dramatically.
“Opera can, in fact, be something beautiful and moving even when all a performance has going for it is some really excellent singing.”
“The Met’s production, originally directed by John Copley, is still a hideous, confusing mess. But with Ms. Meade and Ms. Barton acting with moving subtlety, singing generously and feeling deeply, it was hard to care.”
La Cieca is sort of out of words trying to describe what makes a great performance of the role of Norma, as opposed to the conscientious traversal of the notes.
La Cieca (not pictured) returns to the chat room tonight, cher public, on the occasion of the broadcast of Norma from the Met starting at 7:25 PM.
For better or worse, Decca’s new Norma recording will ultimately be embraced—or dismissed—by those reacting directly to Cecilia Bartoli’s controversial portrayal.
Everyone who revives Bellini’s Beatrice di Tenda, as the Collegiate Chorale did at Carnegie Hall on Wednesday night, calls the piece an “overlooked masterpiece.”
Beatrice di Tenda was a problem child, Vincenzo Bellini an alternately protective and disparaging parent.
Richard Wagner told Cosima he first got the idea of composing an opera about Tristan and Isolde while he was conducting Bellini’s I Capuleti e i Montecchi starring his muse, Wilhelmine Schröder-Devrient, in the trouser role of Romeo.
By the time Rossini was 20, he had produced six operas, most of them brief, comic and slight. He admitted to admiring Mozart (not then well known south of the Alps), but the melodies of his early works show more of the influence of Paisiello.
Mariella Devia will augment her already vast bel canto repertoire next year with the role of roles: Bellini’s Norma.