![]() Surprisingly Bellini and the audience endured all this (unless as a bel canto purist you were so offended you walked out - though I saw no empty seats after intermission). It is big canto, and not only for the singers but also the orchestra who sang out Bellini’s simplistic harmonies as if they were those of Richard Strauss. He does not hear Norma as bel canto - long, dramatically graceful melodies that soar - but as overwrought emotional outpourings composed to challenge the techniques of big artists. The singers are usually lined up across the front of the stage to fall under the direct control of the maestro. Most of all the singing was loud enough, and that is important for a huge theater like La Scala where the opera began (2800 seats) and the War Memorial (3200 seats) where Norma now may be heard as it has never been heard before.Īs usual when conductor Nicola Luisotti is in the pit the opera is about the maestro and the pit. It is about singing about human nature, and if you are the singer it is finding your way out of Romani’s mess by singing long enough, and singing beautifully enough. Their conjecture is complicated by a very human, operatically volatile tangle of fidelity and infidelity. He and his librettist Felice Romani then considered what might have happened if this fertility drug had begotten two adorable children and therefore doomed (in this production) an entire civilization to extinction. Not much more is known about Druid ritual than what Vincenzo Bellini documents in his operatic version of an ancient mistletoe ceremony.
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