Cher Public

There is no spoon

Alisa Jordheim and Oliver Sewell in “La Gazza Ladra.”

Can a work with pages and pages of indisputably great music fail to add up to a successful opera? I puzzled over that Sunday during the four hours of Teatro Nuovo’s essential concert staging of Rossini’s La Gazza Ladra at SUNY Purchase. Luckily this perplexing yet enthralling semiseria will be repeated in Manhattan on Thursday at the Rose Theater and no one interested in bel canto should miss it. Read more »

Terror in the aisles

A cinephile Friend of the Box notes, “To be fair I think it was only on one screen. But also, that’s still a really bad per screen average. And more importantly I’ve seen it and it’s terrible.”

Elements of style

Edita Gruberova essentially revived and propagated the bel canto repertoire in central Europe, specifically in the German-speaking countries. Her influence in this realm has resulted in opera houses in this region putting these works in as part of repertory staples.  Read more »

Imogenary beings

Will Crutchfield’s Bel Canto at Caramoor program of concert operas concluded with a bang on Saturday with Bellini’s first success, Il Pirata.

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Pièce de résistance

I was hopeful that my next operatic engagement would offer greater rewards: Norma at the Edinburgh Festival.

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Live and empoisoned

In how many operas does the heroine drink poison and then go lengthily mad?

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Roberto Devereux: Tragedy Mirrored

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.

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I don’t sleep, I dream

Bellini blossomed over us like a love fest.

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