Word: pasatieri
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Dates: during 1970-1979
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...five to ten years, although she herself doubts it. For now it is enough that she sings Mozart (Cherubino in Figaro, Dorabella in Cost fan Tutte) with exquisite taste, control and sheen. Or that she can blend the impetuous and the spiritual so deftly as Nina in Thomas Pasatieri's The Seagull, or the childlike and the vulnerable so magically as the heroine of Debussy's Pelleas et Melisande. Starring in Rossini's La Cenerentola with La Scala in Washington, D.C., last September, she displayed enough bravura vocal fireworks to suggest that Flicka also...
...opera premires took place in as many cities last week. At the Opera Company of Boston, the scene was 16th century Mexico in the long-awaited US. premiere of Roger Sessions' Montezuma. At the Baltimore Opera Company, it was 14th century Portugal in the world premiere of Thomas Pasatieri's Ines de Castro. At the New York City Opera, the setting was the land of Talmudic legend in the U.S. premiere of Ashmedai by Israel's Josef Tal. All three operas were sung in English. Though the music varied in worth, all three productions boasted brilliant stagecraft...
INES DE CASTRO. This is the twelfth opera by the New York-born composer Thomas Pasatieri, 30; most of them have been performed either by U.S. regional opera companies or on television. A lurid tale of murder, intrigue and frustrated love, Ines de Castro builds to a climax in which the demented hero Dom Pedro places the cadaver of his true love Ines on the throne and declares her queen. Stage Director Tito Capobianco has conceived a stunning production that conveys most of the libretto's horror. What is called for musically is the power and sweep...