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Janice Del Sesto, the managing director of the Boston Lyric Opera, added that women are often less cautious than...

Author: By Adam M. Kleinbaum, | Title: Women Speak on Life in Arts | 12/6/1994 | See Source »

...seems to me that women who are arts administrators are greater risk-takers than men," Del Sesto said...

Author: By Adam M. Kleinbaum, | Title: Women Speak on Life in Arts | 12/6/1994 | See Source »

...Furthermore, the principals negotiate the passages of secco recitative with a rare sense for the shape that can be given to each phrase. Anthony Rolfe Johnson as Tito does an admirable job with a role that too easily becomes lifeless and statuesque. Anne Sofie von Otter is a brilliant Sesto, while Julia Varady's Vitellia is truly arresting, combining sensuality with vengeful duplicity. The orchestral playing, through the ministrations of the English Baroque Soloists, is tightly controlled and thoughtful, and the obbligato parts are spectacular. This is a truly visionary interpretation of a work that badly needed...

Author: By John D. Shepherd, | Title: After the Party: Mozart Revisited, Man and Music | 4/9/1992 | See Source »

...many of the scenes are marred, however, by lackadaisical execution by the spent actors. And a few of the scenes are downright inexplicable. During one interminable aria, Sesto wrestles with a rubber snake, ties himself up with a garden hose, then connects the end of the hose to his arm. The program declares that Sesto is singing that, "The offended serpent never rests until its venom is spilled into the blood of the offender." Rubber hose, rubber snake, poison...nope, it's too subtle, I just...

Author: By Cyrus M. Sanai, | Title: On Opera: | 2/19/1987 | See Source »

...York audience, nurtured in the Metropolitan Opera's grand-opera tradition, found a welcome change in Fasano's creation of an intimate, two-century-old court tradition. They chuckled when Italian Clown Sesto Bruscantini scored a solid single in Cimarosa's 18-minute solo opera Il Maestro di Cappella, and then roared out loud as Bruscantini and Carlo Badioli, an even funnier man, rapped out a two-bass hit with the huffa-buffa La Cambiale di Matrimonio, Rossini's first stage work. This week the troupe will pack the show on their backs for a brief...

Author: /time Magazine | Title: Music: Pioneering the Old | 4/26/1968 | See Source »

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