Word: donizetti
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COMIC OPERA is a genre that glories in stylization. The simple joys of highly rouged prima donnas pouting with vanity, sighing village simpletons and cartoon-strip gestures flourish at Lowell House this weekend in Gaetano Donizetti's The Elixir of Love, a production which remains unabashed and comfortable in its use of devices that have pleased audiences for centuries--and balances them well enough to sustain its momentary lapses into camp and slang...
...voices that hold this lighthearted evening's entertainment together are sound. Both student and professional leads are musically competent enough to keep Donizetti's swoops and lilts of melody sounding natural, though some have less luck with the words. Margery Hellmond '83, who alternates with professional soprano Priscilla Ganley as Adina, brings a supple, textured voice to a series of intricate arias, though she occasionally becomes strident on the showy high notes...
...productions. Audience taste tends to restrict TOT'S repertory to the best-known works, which are sung in English. Says Company Manager Jim Toland, 36: "What else can you bring to someone who has never seen opera before but the great ones?" There is a little experimentation: Donizetti's Don Pasquale will be reset in modern Cuba. TOT is also limited to operas in which the chorus is not essential and which do not call for either heavy orchestration or the kind of big, heroic vocal strength that is still beyond the capacity of the company...
...glorious years from 1815 to the mid-1920s, from The Barber of Seville to Turandot. "All we contemporary composers, without exception, are so many pygmies beside this great master," Bellini said of Rossini. But he was wrong. Geniuses followed each other like monarchs in a royal procession: Bellini himself, Donizetti, Verdi, Puccini. Opera lovers became so accustomed to dazzling new works that they thought the parade would never end, that the extraordinary had become the usual...
Grove 6 offers not only updated biographies and bibliographies but greatly expanded coverage on forms, theory, cities and their musical traditions, instruments, musical sociology and institutions. A generation of scholarship has enhanced the reputations of such composers as Monteverdi, Palestrina, Lassus, Josquin, Vivaldi, Cimarosa and Donizetti. Entries on such late 19th century romantics as Bruckner and Mahler have been greatly expanded; the 20th century giant Stravinsky gets 30 columns of biography and discussion vs. nine in Grove...