Word: ginastera
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...with Mexico's National Opera. That same year he sang opposite Joan Sutherland in Lucia di Lammermoor with the Dallas Civic Opera. Then came an offer from the Israel National Opera in Tel Aviv. Nearly 300 performances later, Rudel signed Domingo and gave him the title role in Ginastera's Don Rodrigo at the February 1966 opening of the company's new home in Lincoln Center. Domingo...
...ALBERTO GINASTERA: CONCERTO FOR PIANO AND ORCHESTRA (RCA Victor). The violent and voluptuous new opera Bomarzo (TIME, May 26, 1967) demonstrates that Argentina's Ginastera does not let such modern disciplines as serial technique stand in the way of red-blooded musical drama. His concerto is full of mellow drama as well-racing scales, rushing rhythms and suspenseful pauses, after which, sometimes, nothing much follows. Nevertheless, orchestral color is beautifully provided by the Boston Symphony under Erich Leinsdorf, and flashy keyboard fireworks are brilliantly set off by the young Brazilian pianist Joáo Carlos Martins...
Incitement to Matricide. By far the most significant casualty of Ongania's morality crusade, however, has been Alberto Ginastera's Bomarzo, the first important opera ever composed by an Argentine. For a while, Bomarzo was the pride of the government. For its world premiere three months ago, it was exported to Washington, where First-Nighter Hubert H. Humphrey found it "difficult, discordant and different"-although in good-neighborly fashion, he added, "It has distinction." Then, just before the opera's scheduled opening in Buenos Aires this month, Ongania changed his mind and decided that...
...popular decision. Music Critic Jorge d'Urbano, who had panned Bomarzo at its premiere, wrote that by the government's standards, "Dante's Divine Comedy would have to be considered a political libel and Hamlet an incitement to matricide." Composer Ginastera, pointing to the libertine antics of such operatic heroes as Don Juan, the unmarried exploits of Tristan and Isolde, and the sadism of Salome, suggested tartly that the government should have done with it and suppress all operas. Which it might well do if Ongania ever got hold of the librettos...
...Ginastera sees Bomarzo as "a man of our time," because he "struggles with sex, submits to violence, and is tormented by the metaphysical anxiety of death." The thesis might be more persuasive if Bomarzo were a less odd and cringing figure, and if the unremitting bleakness of his psychological life were set off against a more robust outward existence. But there can be no doubt that Ginastera has powerfully achieved his effects, combining orchestral wizardry and forceful vocal writing to carve out the contours of jarringly dramatic emotion. As Washington Opera Society President Hobart Spalding says, "The fellow is made...