Word: donizetti
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...seems impossible, it could be that there are some opera lovers somewhere who have never had the chance to observe Sills at work. If so, they will want to be at their TV sets next week when Sills stars in a two-hour presentation, in English and color, of Donizetti's 1840 comic opera Daughter of the Regiment (PBS, Monday, Oct. 14). Taped last summer during an actual performance at the Wolf Trap Farm Park for the Performing Arts outside Washington, D.C., Daughter marks Sills' first appearance on TV in a complete opera. It is also a highly...
Daughter lacks the stature of Donizetti's comic masterpieces Don Pasquale and L'Elisir d'Amore, but it does provide Sills with countless opportunities for lambent fioriture, whistling-high E-flats, and howling farce. Her windup salute, which starts somewhere near her right thigh and then circles deliciously upward, has to be seen to be believed. So does the way she gives her dancing master a knee in the chin, or wraps him around her neck while learning to do the quadrille...
Sharon Zukerman, flute; Alice Norton, harp. Works of J.S. Bach, Kodaly, Donizetti, Persichetti, Berio. Free. Sunday, March...
...production puts Sills back into English history, where in recent years she has triumphed in the Donizetti trilogy devoted to three queens-Elizabeth I (Roberto Devereux), Maria Stuarda and Anna Bolena. I Puritani was the last opera Bellini wrote before he died in 1835 at age 33. Its graceful and ornate vocal writing actually suits Sills' light voice better than Donizetti's heavyweight scores. This is music to float jewels on. Sills' succession of bravura displays in the mad scene ("Qui la voce sua soave ") is like a string of emeralds, each deeper and more lustrous...
...nightie (successfully rosied) hung in her dressing room, and all, incredibly, was in place on time, ready to be admired. Not given a major New York stage production since 1850, Anna Bolena is a bel canto curio revived to 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...