Word: kapusta
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...ability to lend just the right mixture of levity and profundity to each scene.At its core, “Così fan Tutte” revolves around the fate of two couples—Dorabella and Guglielmo, played by Melinda N. Biocchi ’08 and John D. Kapusta ’09, and Fiordiligi and Ferrando, portrayed by Cavallaro and Noah Van Niel ’08 respectively. In Saturday night’s performance, Cavallaro overcame her illness to deliver a strong performance with her emotive facial expressions. Kapusta enhances the humor written into each...
...ability to lend just the right mixture of levity and profundity to each scene.At its core, “Così fan Tutte” revolves around the fate of two couples—Dorabella and Guglielmo, played by Melinda N. Biocchi ’08 and John D. Kapusta ’09, and Fiordiligi and Ferrando, portrayed by Cavallaro and Noah Van Niel ’08 respectively. In Saturday night’s performance, Cavallaro overcame her illness to deliver a strong performance with her emotive facial expressions. Kapusta enhances the humor written into each...
...treasured hobby—most of its current members are concentrating in fields other than music—the HRO has also serves as a professional training ground. Many current and past members of prominent American and international orchestras have played in the HRO, according to Yannatos.John D. Kapusta ’09, a trumpet player as well as a vocalist in the five-year joint degree program between Harvard and the New England Conservatory, is serving as assistant conductor this season. He is following in the footsteps of such heavyweights as Leon Botstein—now the music director...
...after a little amusement,” Figaro sings in the opening act of Mozart’s “The Marriage of Figaro,” “I’ll play the tune.” True to his words, John D. Kapusta ’09 (Figaro) and the rest of the Dunster House Opera (DHO) cast play the part of lying, cheating, and mischievous lovers well, amusing the audience consistently throughout the comedic opera, and for the most part delivering on their promise to make the opera “accessible...
...dancers incorporated into the scene, which seemed jarringly out of place and did not flow at all with the performance. The second cantata, “La mort d’Hercule,” was much easier to follow, largely due to the superb performance of John D. Kapusta ’09. Kapusta’s singing was full of dynamism and energy and made the story easy to understand. Though the narrative aspect of the cantata was much improved, the applicability to modern life was still hazy. Its themes of betrayal and sorrow are obviously universal...