Caramoor imported the venerable West-Coast period orchestra Philharmonia Baroque to perform Atalanta, an obscure pastoral work by Handel.
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Will Crutchfield’s Bel Canto at Caramoor program of concert operas concluded with a bang on Saturday with Bellini’s first success, Il Pirata.
Opera at Caramoor rallied Sunday afternoon with an admirable if erratic performance of Fidelio which was especially memorable for South African soprano Elza van den Heever’s thrilling first-ever Leonore.
A leap forward of more than a century to present the Francis Poulenc opera Dialogues des Carmélites sounded ominous.
Saturday evening conductor Will Crutchfield revived Donizetti’s La Favorite—unheard in New York for fifteen years.
Bel Canto at Caramoor is something that I’ve always wanted to attend but never have because … well because frankly I’m just too lazy during the summers, and I’m also a big baby about outdoor performances.
Two operas both alike in dignity, set in dimly lit Renaissance towns ruled by seething, conspiratorial courts.
The big news from Bel Canto at Caramoor’s presentation of Les Vêpres Siciliennes last Saturday is far from unexpected.
It has come to La Cieca’s attention that the New York Opera Calendar is sadly devoid of content until Saturday of this week.
This summer at Caramoor, Will Crutchfield (not pictured) will conduct two Verdi operas written for the Académie Royale de Musique.
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.
Our Own JJ has been spending a lot of time outdoors lately, which is such a novelty for him that he felt he really must write about it.
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.
The Post decided to pass on a review of the Caramoor Maria di Rohan (July 24), but the presentation is definitely worth a mention and some discussion, so let’s take it to parterre.
The much-publicized Takesha Meshé Kizart has withdrawn “due to illness” from the title role of Maria di Rohan at Caramoor tomorrow night (!!!) to be replaced by her cover, Jennifer Rowley.
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