(Photo: Sam Roppola/Death of Classical)

The Royal Opera of the Palace of Versailles, inaugurated in 1770 during the reign of Louis XV, was the largest concert hall in Europe at that time. The Orchestre de l’Opéra Royal (The Versailles Royal Opera Orchestra), was formed in 2019 specifically to perform John Corigliano’s opera, “The Ghosts of Versailles.” The orchestra, conducted by Stefan Plewniak, embarked on a special journey making their NY debut this week with two very special events hosted by Death of Classical and sponsored by Tatiana and Gerret Copeland, proprietors of Bouchaine Vineyards, along with Printemps Paris, which is celebrating their 160th anniversary this year. Both evenings were special and memorable, highlighting the beauty of collaboration and partnership that makes amazing debuts like this possible.

OperaWire attended the second of the two evenings, “The Last Castrato,” showcasing the remarkable countertenor Franco Fagioli and the Versailles Royal Opera Orchestra with a full program including bel canto works by Gioachino Rossini, Giuseppe Nicolini, Paolo Bonfichi, Pierre Rode, Giuseppe Nicolini, Niccolò Antonio Zingarelli, Saverio Mercadante, and a special encore of Rossini. After the performance at L’Alliance New York Florence Gould Theater, audience members attended an after-party, “The Louis XIV Experience,” at Freeman’s | Hindman NY Auction House which included special performances of baroque chamber music selections featuring Elliot Figg (harpsichord), Jude Ziliak (violin), and Cullen O’Neil (violoncello) on the first floor, while on the third floor, performers Ariadne Greif (soprano), Eric Brenner (countertenor), Dušan Balarin (theorbo) and Liana Zhen-ai (dancer) presented works including Robert de Visée’s, “Prélude en A.mi.la,” “La Royalle,” and Claudio Monteverdi’s, “Pur ti miro.” Also on the third floor was an artful shadow puppet performance, “The Spinner,” by Foreshadow Puppetry, founded by creators Rosalind Lilly and Gaby FeBland.

“The Last Castrato”

Franco Fagioli is the first countertenor to sign an exclusive contract with Deutsche Grammophon. He is known for his masterful vocal technique and craft worldwide. His newly released album, “The Last Castrato: Arias for Velluti (2025),” was recorded at Opéra Royal de Versailles on July 4, 2024 – July 12, 2024 and features the Versailles Royal Opera Orchestra, conducted by Stefan Plewniak. It is part of the label Château de Versailles and is a one-of-a-kind live performance recording of bel canto works that transcends the boundaries of time.

The program for his NY performance, “The Last Castrato,” included some works from his album and more that illuminated the talent within the Versailles Royal Opera Orchestra, led by the exhilarating conductor Stefan Plewniak. The orchestra entered the stage while playing and audience members clapped to welcome them as they got seated. It was a beautiful gesture that they did also after the evening’s program, playing while concluding the night’s performances. I watched as the faces of the musicians lit up with joy and the conductor danced about while playing his violin and feeling connected to his orchestra members in this same way. It really felt like an intimate salon experience unfolding.

Gioachino Rossini’s “Tancredi” was the official opening led by the orchestra. Immediately one could tell the sensitivity and historically informed intelligence of the orchestra. The dynamics were perfect and the musicians sounded wonderful in the space. There was no hiding to be had acoustically in Florence Gould Hall, which made this evening an even more outstanding performance to be reviewed. I could really hear and appreciate every instrument and musician as they played all throughout the night. It felt like they were sharing their gifts with each of us in their own way, especially Plewniak as he gracefully and enthusiastically conducted. I was absolutely transported to Versailles!

(Photo: Sam Roppola/Death of Classical)

Fagioli entered the stage for Giuseppe Nicolini’s “Traiano in Dacia – Aria di Decebalo: ‘Ah se mi lasci o cara.'” The moment he took to the stage one could sense he was in his element and ready to have fun! His voice was full of life and richness in timbre and octaves. The ornamentations and quick vocal turns spun into the hall with ease and delight! His lower notes were grounded and his vibrato remained well-managed all throughout his octaves. His facial expressions were engaged with creating the most perfect vowels and inflections. This was a masterclass being held by a master countertenor. His top notes blossomed into velvety purples with silver linings. There was a profound distinction in his vocal quality that I had yet to ever experience, including in his demeanor and how he presented himself on stage. Fagioli welcomed listeners to engage in experiencing bel canto music as an opportunity to celebrate with him and feel the unbridled power of the human voice. There was a lightness in the hall that permeated the remainder of the evening’s performances. He even smiled as he sang and his eyes were bright in knowing his gift of singing was uplifting and honoring the music, musicians, and company in the hall. Bravo!

Rossini’s “Il viaggio a Reims – Act three Finale” was performed by the orchestra with delicacy and a vibrant palette of colors. The violins’ high notes floated into the hall and the woodwinds resonated with playfulness. Audience members swayed in their seats and held their loved ones closer. Plewniak did an excellent job managing the quick tempo changes and stylistic modes of expression. Every musician was on point and in close watch of what to expect next. Precision of expression was the highest order of the night.

(Photo: Sam Roppola/Death of Classical)

Paolo Bonfichi’s “Attila – Scena e cavatina di Lotario: ‘Qual mi circonda e agghiaccia … Dolenti e care immagini … Vedrai quest’anima'” evoked drama and Fagioli’s vocal aptitude when portraying a complex composition. He was careful to remain true to the music and what is written in the score the whole time, and his ornamentations were natural and intelligently driven. His voice flowed in glorious arrays of tonal narratives that were heart wrenching, yet never overpowered by emotion. The space Fagioli creates between his voice and the emotions in the music is absolutely necessary to keep the flow of the line and arc of phrasing as the driver. This was a masterpiece to experience live. 

Pierre Rode’s “Concerto for violin N°1 – Final Polonaise” followed Fagioli’s aria in swiftness and fluidity. Plewniak played the concertmaster solo with expertise and finesse. The tempo of this piece was the perfect follow-up to the opening works and really kept audience members engaged with actively listening. The violin solos in this piece are incredibly breathtaking if one has the chance to listen, please take it. This piece will blow you away. Bravo Plewniak and the Versailles Royal Opera Orchestra for this journey!

Giuseppe Nicolini’s “Carlo Magno – Scena e rondò di Vitekindo: ‘Ecco o numi compiuto … Ah quando cesserà … Lo sdegno io non pavento'” is a very in-depth aria for the role of Nicolini’s Vitekindo (Widukind), the principal leader of the Saxon resistance against the expansion of the Carolingian Empire led by Charlemagne during the Saxon Wars of the late 8th century. In this aria, Fagioli transformed into his role and sang with conviction from his soul. I was reminded of watching Ottavio Dantone at the Innsbruck Early Music Festival last year and how he performs with this level of profundity and empathy. Fagioli really took his level of performance to another place with this aria. It was incredible.

Gioachino Rossini’s “Αureliano in Palmira” was performed by the orchestra with regality and charm. The violins resonated with clarion of sound and the famous passages bounced with character and charisma. It’s hard not to hum this piece after hearing it, I actually still have it in my mind now. The brilliant pops of solos among the musicians mixed with fancy waltzing and wonder. It is a great crowd-pleaser for all ages.

Gioachino Rossini’s “Aureliano in Palmira – Scene Arie e Cavaletta di Arsace: ‘Dolci silvestri orrori… Ah! Che sento… Non lasciarmi in tal momento'” was rightfully performed next by Fagioli. His voice was gentle and full of graceful awareness and care. Every note was connected to a silvery thread of uninhibited vocal purity. Fagioli’s high notes were the most clear in this aria and one sensed his freedom of expression. His vowels and vocal inflections were open and smooth. This was a very enjoyable aria especially if one is not too familiar with bel canto works. The very clear melody and beautiful singing might make anyone a bel canto fan after listening.

Niccolò Antonio Zingarelli’s “Giulietta e Romeo – Overture” was played by the orchestra with excitement as the evening was nearing close. Saverio Mercadante’s “Andronico – Cavatina di Andronico: ‘Dove m’aggiro … Era felice un dì … Sì bel contento in giubilo'” was Fagioli’s final aria (apart from his surprise Rossini encore). This is available for listen on the new album and I highly recommend it. His vocal ornamentations sounded effortless and radiant in quality. This was the perfect evening to experience the Versailles Royal Opera Orchestra and Franco Fagioli’s voice!

(Photo: Sam Roppola/Death of Classical)

‍”The Louis XIV Experience”

The after-party at Freeman’s | Hindman NY Auction House was a quintessential post-performance celebration. The first floor of the classic Upper East side NY style house included special performances of baroque chamber music selections featuring Elliot Figg (harpsichord), Jude Ziliak (violin), and Cullen O’Neil (violoncello). Guests entered the house listening to music that carried them up the stairs and onto the second floor where delicious Bouchaine wines were poured, including 2019 Bouchaine Brut Rosé, 2021 Bouchaine Estate Chardonnay, 2016 Bouchaine Estate Chardonnay Magnum, 2022 Bouchaine Calera Clone Pinot Noir Estate, 2021 Bouchaine Mt Eden Clone Pinot Noir Estate, and 2021 Bouchaine Estate Syrah. My favorite was the 2016 Bouchaine Estate Chardonnay Magnum. It has a full-bodied, rich and vibrant taste that, when served ice cold, makes the NYC summer heat melt into blissful oblivion! 

(Photo: shop.bouchaine.com)

The third floor performances included Ariadne Greif (soprano), Eric Brenner (countertenor), Dušan Balarin (theorbo) and Liana Zhen-ai (dancer), presenting works including Robert de Visée’s, “Prélude en A.mi.la,” “La Royalle,” and Claudio Monteverdi’s, “Pur ti miro.” The duo performance with Dušan Balarin playing theorbo and Liana Zhen-ai was stunning! Her dance and delicate movements paired with his playing captivated audience members in every way possible. Liana Zhen-ai participated in Death of Classical’s “Nightfall” and it was so wonderful getting to see her perform on this evening. Her interpretive dance is backed with skilled insight about the body’s complexities and how movement shapes the performance in every aspect. It’s amazing to watch her adapt her vast skill set to different settings.

Ariadne Greif and Eric Brenner sang their duet in harmonious bliss while Balarin’s theorbo carried listeners into a transcendental state of being.

(Photo: Dušan Balarin, Eric Brenner, Ariadne Greif, Liana Zhen-ai)

The third floor also included a shadow puppet performance, “The Spinner,” by Foreshadow Puppetry, founded by creators Rosalind Lilly and Gaby FeBland. The two worked simultaneously to produce a story about a young girl’s journey and transformation. The audience loved the sounds and narrative motions of the papers on the projector that depicted the complex storyline. This was a very well-thought-out performance and the audience applauded in cheers!

Death of Classical’s “Versailles in New York” satiated everyone’s inner Francophile, leaving a lasting impression of great expectations for their season to come! Stay tuned at OperaWire for more exciting coverage.