Cher Public

She’s a stranger here herself

Bellini’s fourth opera, La Straniera, was a hit in 1829, all over Italy and then throughout Europe. Bellini’s highly original style of plangent, flowing melody was the newest thing in romantic atmosphere. Would he have been able to write a merry comic jaunt like L’Elisir d’amore or L’Italiana in Algeri? I doubt it. Nobody asked him to. They wanted mysterious Byronic epics and he was glad to oblige. Read more »

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 »

Drama is real

Bass Daniel Fridley, who offered “plenty of spin and sparkle in his voice, perfect diction, and the exact resonance and gravitas I look for in a bass.”

Teatro Nuovo put on a perfectly delightful show on Thursday night including the New York premiere of Donizetti’s Symphony in E minor and Rossini’s Stabat Mater in the Church of the Heavenly Rest. Read more »

Social Medea

Simone Mayr’s Medea in Corinto, a curious work of 1813, has been revived by Will Crutchfield’s new enterprise, Teatro Nuovo.

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The boy from Syracuse

Tancredi is a serious opera, which means that at its heart lies a dilemma. 

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