Word: corsaro
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...standard of the composer's later works, Impresario is a trifle. Its characters are types-Mr. Angel, the elderly financier, Mme. Goldentrill, the aging diva. Yet how boldly the types are cast, and how fresh the music. It was a good show, even though Director Frank Corsaro placed the action in the Edwardian era in a wasted effort to provide contrast with the Salieri. Sopranos Karan Armstrong (Goldentrill) and Ruth Welting (Miss Silverpeal) filled the theater with fine singing and fetching looks...
...Frank Corsaro had not yet invented nudity in the opera, so the administrators presumably thought Carlisle Floyd would be safe. But just to make sure, they sent the chairman of the music department out first to explain the difference between proper and improper expressions of approval. What was proper at a baseball game, we were told, was improper at a ballet. Most of the audience had never been to a ballet, and the music chairman had conceivably never been to a baseball game, so his explanation didn't go over well, and the scene from Susannah was inevitably anticlimactic. Susannah...
...Beverly made the excruciating decision to put him in the same institution in Massachusetts where Peter's retarded daughter was already lodged. On the same day, she sang all three heroines in Puccini's trio of one-act operas, Il Trittico, at the City Opera. Says Director Frank Corsaro: "It was the only hysterical performance I have ever seen her give." Since then, says Rudel, "she has matured so greatly. While basically she has not changed, she has become much more profound. And yet, you always feel the joy of the performance...
...finest voices in the world. But Rudel's shows are rarely dull. Because he believes that "open should be a true amalgam of the visual and musical," he was steering City Opera toward total theater long before the term became fashionable. He hired such experienced directors as Frank Corsaro and Tito Capobianco, and gave then free dramatic rein. In those hands even old familiars like Gounod's Faust became provocative productions. In 1968, for instance, Corsaro transformed the simple good-conquers-evil parable of that libretto into a chilling Gothic horror tale of clashing wills between...
...Corsaro has his keen eye on other Delius operas. As he points out, no less an authority than the late Sir Thomas Beecham, Delius' friend and greatest champion, considered A Village Romeo and Juliet and Fennimore and Gerda infinitely superior to Koanga...