Word: donizetti
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...demanding that I will not try it for at least five years." Opera lovers will not have to wait that long to hear him at his best, however. His current singing season will reach a peak at the Met next month, when he sings in Donizetti's rarely performed The Daughter of the Regiment. Elaborate, bursting with bel canto, the production will feature Sutherland, Ljuba Welitch (the legendary Salome of two decades ago, making a return in a cameo role) and Pavarotti in his most stratospheric showpiece, an aria with nine high...
...opera house's 3,520-seat capacity. Quality is high too: this season, Bellini's bel canto I Capuleti e i Montecchi with Soprano Cecilia Gasdia and Mezzo Tatiana Troyanos was an unexpected smash hit, and the Lyric's tradition of presenting operatic superstars continued with Joan Sutherland in Donizetti's Anna Bolena...
...Socially and artistically, the Houses were flourishing. In 1951, for example, Adams House put on Johan Strauss' operetta "Gypsy Baron." Students in Dunster House--known as "Funsters"--staged Donizetti's "Anna Bolena." In Eliot House, the play that year was Ben Johnson's "Every Man in His Honor." After selling out "H.M.S. Pinafore" the year before, Winthrop House put on Gilbert and Sullivan's "Yeoman of the Guard...
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...
...might have been different had Bolton started studying voice 20 years ago, but belting ballads has worn his middle range to a thread. Though he squeezes out the necessary high notes, after a fashion, everything else is bad to the point of black comedy, from the flabby scooping in Donizetti's Una furtiva lagrima to the wimpy crooning in Puccini's Che gelida manina (real Italian tenors are not sensitive...