Word: rosina
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Presenting The Barber of Seville and The Marriage of Figaro on successive evenings not only gives the New England Opera Theater a repertoire of two standard works, it enables audiences to follow Beaumarchais' drama from the Count's frivolous courtship of Rosina through their tragi-comic marriage. Rossini's music for the first play perfectly reflects its brittle stylized comedy. And the score of Mozart's "sequel" (actually written thirty years earlier) given to the older characters an almost bitter-sweet maturity...
...dramatic values is the use of translations. English does not lend itself really well to the rapid-fire arias of Bartolo and Figaro, but in recitatives it becomes invaluable for following nuances of the plot. Apart from the language change, Mr. Goldovsky adheres to the composer's intentions. Rosina, for instance, is sung by a mezzo-soprano as Rossini first planned. And she sings his original Lesson Scene, not the customary aria interpolated for benefit for the claque. The orchestra is authentically chamber-size and the theater itself much more intimate than our standard operatic caverns...
...novelty quickly wears off. As "Kinemins," Hansel and Gretel are too human for fantasy, too clumsy on their magnetized feet to pass for real. Only with Rosina Rosylips, the witch, does Producer Myerberg bring his brainchild close to life. Swooping happily on her broomstick or chortling over Gretel ("She makes my mouth water" "I'm so glad I caught her"), Rosina Rosylips is fine fun. For the rest, despite Humperdinck's music and Evalds Dajevskis' eerily beautiful settings, Hansel is hoist on its own technology...
...recently reinstated after a wayward detour to Hollywood, and 21-year-old Soprano Roberta Peters, who made a dramatic debut in a last-minute substitution a year and a half ago as Zerlina in Don Giovanni, announced they would marry this summer. They met while singing Figaro and Rosina in The Barber of Seville, in which Figaro tries to persuade Rosina to marry the romantic tenor, Count Almaviva. Cracked Merrill: "This time the baritone got the girl...
Ready or Not. Manager Hurok's reaction to the bad news was to raise her fee from $2,000 a concert to $2,500. And in the fall, after a summer concert tour, Patrice was back at the Met. She sang Lucia, and Rosina in Barber of Seville. After their first broadside, the critics paid little attention to her. Thanks to public demand, which Manager Hurok did nothing to discourage, Patrice was kept gainfully busy...