Clocking in at nearly four hours and receiving a uniformly committed and capable presentation from the Bel Canto at Caramoor forces, this Rossini rarity is a fine example of the young composer’s music that would only tighten, both musically and dramatically, as his career progressed.
You can imagine my initial reticence when it was announced that Broadway superstar Kelli O’Hara would be performing in Henry Purcell’s opera Dido and Aeneas with MasterVoices. And you can also imagine my surprise when O’Hara’s cleanly-sung, introspective interpretation of the Carthaginian queen won the day at City Center last Friday.
They may make a mismatched pair, but both Die Entfürung aus dem Serail and Elektra (especially Elektra) are being executed with great care at the Met.
“If you distill opera down to its basics, its telling stories through words and music. Though many regard it as old art form and ask what relevance it could have to now, when you distill it down, it has utter universality. It transcends centuries, continents, and ethnicities. We produce a most-relevant cultural service.” Thoughts on opera and more from Anthony Freud, General Director of the Lyric Opera of Chicago.
Luca Salsi, Anna Pirozzi, Francesco Meli, and Michele Mariotti make a strong case for Verdi’s “I Due Foscari” at Teatro alla Scala.
The English Concert, in their annual Carnegie Hall operatic appearance, never fails to impress, and intelligent, confident music making at Sunday’s performance of Handel’s Orlando made a sterling case for Baroque opera as exciting theater.
Winning performances by Javier Camarena and Eleonora Buratto dominate this uneven-yet-enjoyable revival of Donizetti’s “Don Pasquale” at the Met.