Word: scala
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...enthusiast's weekend agenda should be this Saturday night's Back Society Orchestra Concert. In this, the third of their five seasonal concerts, the group will tackle three infrequently heard compositions of three infrequently heard compositions of three of the most popular composers in music history: Brahms's "La Scala di Seta" and Beethoven's Piano Concerto 7/8 2. Featured soloist will be pianist Richard Kogan who will also perform Beethoven's stormy "appasionata" sonata at the pre-concert recital beginning...
...Siege of Corinth had never been presented at the Met, nor very regularly in modern times until Sills helped revive it in 1969 at Milan's La Scala. Just as Handel's Julius Caesar at the City Opera had established her American reputation in 1966, the La Scala Siege made her an international star. Last week one could see and hear why. In lesser hands, Rossini's florid vocal writing might be just that-little more than tedious vocalizing. With Sills, a mistress of bel canto, each triplet, each double-octave run, each pianissimo high note...
What a Tent! The drop-style production mounted for Sills' debut is both attractive and sensibly economical ($175,000, cheap by current prices). The sets are fashioned after La Scala 1969, except that the second act is set in Maometto's tent rather than on his ship. And what a tent it is-opulent red carpets and ottomans, hanging lamps, each big enough to contain a man, table lamps that burn with a molten glow...
...there is a fault to be found with the production, it is with the way Stage Director Sandro Sequi, who directed the opera at La Scala, handles the chorus. Visual non Sequiturs play a big part in his theory of direction. When in doubt, he makes the chorus crisscross. If the arrival of a leading character is announced offstage, he sends half the chorus scurrying for the wings to clear space. That is maddening, because Rossini made the chorus an active participant in the drama rather than a commentator...
...greatest role to date--that of Count Cenci in Ginastera's Beatrix Cenci--didn't take place at the Met: Beatrix Cenci opened the Kennedy Center in 1972 and ran for two years at the New York City Opera. The role of Maometto, which he sang at La Scala with Sills in 1969 for his own debut there, is another crucial triumph--his career is well-established internationally but still on the rise. As for the Met, he says, "My position here, of course, is not really steady. I'm not like a weekly artist--I go wherever the jobs...