(Photo: Michele Crosera) Although the Sicilian composer Alessandro Scarlatti (1660–1725) is famed for his prolific output of operas–he claimed to have written well over 100–which were significant in laying the foundations for the development of 18th century opera seria, he rarely strayed into the field of comic opera. The single major exception was his 1718 work, “Il trionfo dell’onore,” written {…}
(Photo: Zani-Casadio) In his program notes, the director, Pier Luigi Pizzi, writing about “Il Ritorno di Ulisse in Patria,” stated that “the opera speaks for itself,” adding, “we must not induce or force its interpretation… It is up to the audience to confront it, to think about it, and to decide for themselves whether or not it is worthwhile.” Even {…}
(Photo: Monika Rittershouse) Opernhaus Zürich presents a new production of Claudio Monteverdi’s “L’Orfeo.” Premiered in 1607, “L’Orfeo” is not the first opera ever composed, but it is hailed as the first great opera. It stands out as the first to use music as a dramatic tool, employing diverse musical colors to express various emotional states. Its monumental success paved the {…}
(Photo: Studio B12 di Gianpaolo Guarneri) The duet “Pur ti miro, pur ti godo,” which brought Teatro Aligheri’s presentation of “L’Incoronazione di Poppea” to its conclusion, was rightly met with enthusiastic applause from the audience. The sensitivity, emotional depth and detail that countertenor Federico Fiorio and soprano Roberta Mameli were able to bring to their singing was breathtaking. Their voices {…}
(Photo: Zani-Casadio) In the space of three days, Ravenna’s Teatro Tradizione Dante Alighieri performed two operas, both of which involved trips into the afterlife. The first, “Il Viaggio di G.Mastorna” was a contemporary opera by Matteo D’Amico in which the hero Mastorna is killed in an airplane crash and condemned to journey through a modern-day purgatory in search of peace. {…}