Sor Juana Inés de la Cruz is perfect figure for an opera; known, but not known enough, especially in English-speaking countries, with a life that involved plenty of love, poetry and tragedy.
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Dell’ Arte Opera Ensemble’s “Scenes from the Tower” evening is devoted to three operas composed by women, and the metaphorical tower is women’s sequestration from the opera stage.
Whitney George’s music falls pleasingly upon the ear and is wittily scored for a small ensemble conducted by herself.
Dell’ Arte Opera Ensemble theme this summer is women composers, which is timely, and the more to be applauded as likely to turn up unusual works.
Salieri’s La Cifra (“The Cipher”) played all over Europe for 20 years, in several translations (German, Spanish). Then, like many a worthy work, it was forgotten.
On Saturday night, dell’ arte Opera Ensemble presented a lean performance of La Traviata.
Homer, inspired by many a muse, sang not of sequels to his Iliad.
It’s fun to wonder what might have happened if Rossini had never composed Il Barbiere di Siviglia. Would Giovanni Paisiello’s earlier adaptation of the work be a repertory favorite? Or would it have faded into obscurity with an occasional revival here and there?
The little opera companies of New York are like chanterelles.
In recent years the enterprising Dell’Arte Opera Ensemble has brightened the usually arid weeks of August in New York City with some worthy operatic showcases for young singers.
Seventeenth century opera remains the true connoisseur’s delight partly because it’s so rarely done.
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