Word: lammermoor
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Dates: during 1990-1999
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Most of the opera, however, belonged to soprano Labelle, completely entrancing in the title role of Violetta Valery. After making her debut last year in BLO's Lucia de Lammermoor Labelle was named The Boston Globe 1997 Musician of the Year, and with good reason. Her vocal and stylistic range is almost unfathomable: in the course of roughly 10 minutes at the end of the first act, she goes from airy coquettish high notes to the wistful, delicate "Goodbyes" to the passionate lament of the "misterioso" theme that haunts the entire opera. She pulls off coloratura singing--that ornamented style...
Judging by Zambello's history, that isn't a bad prediction. Six years ago, she staged Donizetti's popular Lucia di Lammermoor for New York City's Metropolitan Opera, and her vision of madness and death--the stage was strewn with coffins--drew catcalls from tuxedoed first-nighters expecting something considerably more romantic. In her version of Gluck's Iphigenie en Tauride, presented last fall by the New York City Opera, the two principal male characters were stripped down to skimpy loincloths and chained together, to underline what Zambello believes to be the opera's homosexual subtext. "Cesca...
This production is the first of a two-part celebration of Donizetti's 200th birthday by the BLO. The second part, coming up in October, will be "Lucia di Lammermoor." "L'Elisir" continues tomorrow at 7:30 P.M., and concludes Sunday with a 3 P.M. matinee. Tickets are $25-$95, with half-price student rush two hours before each show...
...male company called La Gran Scena. This rare--and rarefied--troupe recognizes that opera thrives on the tension between the sublime and the silly. After all, when a 90-kg soprano trips down the castle steps trilling like a half-kilo canary in the mad scene in Lucia di Lammermoor, should one weep at her character's insanity or howl at the absurdity? La Gran Scena's answer is: both. As they see it, loving opera and laughing at it are one and the same thing...
...male company called La Gran Scena. This rare -- and rarefied -- troupe recognizes that opera thrives on the tension between the sublime and the silly. After all, when a 200-lb. soprano trips down the castle steps trilling like a 1-lb. canary in the mad scene in Lucia di Lammermoor, should one weep at her character's insanity or howl at the absurdity? La Gran Scena's answer is: both. As they see it, loving opera and laughing at it are one and the same thing...