Word: capobianco
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Dates: during 1970-1979
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...regional opera companies or on television. A lurid tale of murder, intrigue and frustrated love, Ines de Castro builds to a climax in which the demented hero Dom Pedro places the cadaver of his true love Ines on the throne and declares her queen. Stage Director Tito Capobianco has conceived a stunning production that conveys most of the libretto's horror. What is called for musically is the power and sweep of a Verdi, or the psychological insight of a Moussorgsky. Pasatieri Instead has written in a bland, old-fashioned style that might be suitable for an O. Henry...
...concerts and other opera dates. Her income from these appearances and recordings is about $400,000 a year. That makes her one of the two or three highest-paid sopranos in classical music - only one indication of the way she has come to dominate her field. Says Tito Capobianco, the artistic director-elect of the San Diego Opera: "She is Beverly Sills with or without...
...enable Sills to complete her long-planned and justly famed Donizetti trilogy. As with the other queens of the Tudor era, Elizabeth I in Roberto Devereux and the Queen of Scots in Maria Stuarda, Sills proves again that she is a singing actress without peer. Stage Director Tito Capobianco gives her full rein: she even takes final leave of her lord and mate Henry VIII by giving him a stinging slap in the face that is a triumph of histrionics over history...
...most obvious alteration in Capobianco's new production is the elimination of the brief epilogue in which Hoffmann is found in a drunken stupor, overwhelmed by his failures. Instead, the final curtain goes to the triumphant Dr. Miracle, who has just caused the poor Antonia to sing herself to death. In one of the chanciest bits of operatic stagecraft seen in New York in years, Dr. Miracle miraculously pops up on the outer rail of the orchestra pit, towers spectacularly over the conductor, and laughs his final laugh of evil victory...
...Director Capobianco's inventions are infinitely more than acceptable for the oldest reason known to show business: they work. Given the incomparable team of Treigle and Sills, he has the added advantage of dealing from strength. Sills is in superb voice and thespian mien, as usual. She somehow manages, for instance, to make the viewer simultaneously amused by and sorry for the doll Olympia. Wind her up, and oh, how she warbles-even standing on one foot. Take her hand too passionately, and oh, how she runs away...