(Photo: Christina Iberl) The revival of Domenico Sarro’s “Didone abbandonata” (1724) at the Staatstheater Meiningen marks perhaps the first scenic production of this Neapolitan gem since its 1724 premiere in Naples. While this staging offered a rare opportunity to witness Pietro Metastasio’s debut libretto in full staged form, there was a lingering sense that the interpretation was perhaps too cautious. {…}
(Photo: Benoit Auguste) Over the course of the 17th century, the role of the tenor was displaced by the rise of the castrato. Whilst in opera’s early years tenors were given prominent roles, such as the title role in Monteverdi’s “L’Orfeo,” by the middle of the century they were relegated to comic or travesti roles. During the early 18th century, {…}
(Photo: Mariana Moreira) The first setting of Metastasio’s first major libretto, “Didone Abbandonata,” was set to music by Domenico Sarro and premiered at Naples’ Teatro San Bartolomeo in 1724. Less well known is the accompanying intermezzo “L’Impresario delle Canarie,” also by Metastasio with music by Sarro, which shared in the evening’s success. The work is in two parts, with the {…}
