Opera is alive and well in Sarasota. “It feels like it did before,” says Communications Officer for Sarasota Opera Patricia Horwell.
An operatic work by an esteemed composer, with a libretto adapted from a great author’s story, staged in an intelligent and well-designed production, featuring singers of the top caliber and a conductor with a deep commitment to the composer’s music, leading a chamber-sized group of his orchestra’s best players — magic in the opera house, right?
This is an opera written with a cannon and a feather. There is sensory
overload—an overload of sensory overload: lights that shine into your face in
the manner of an ophthalmologist scanning your retina; eerie, too-loud sounds
that invade you from every direction; dancing patterns of light that may
resolve into huge words or huge faces; a great chandelier-harp that sometimes
descends to be played, a strumming like the sounds of the sirens in Plato’s
parable of the concentric crystalline spheres.
With voices of doom predicting the end of the CD format — supposedly to be replaced by downloading — the ancillary art of CD packaging also faces a grim future.
Vincenzo Bellini’s operas are pure bel canto, with beautiful singing placed above all other considerations.
Is Guy Joosten’s staging of RomÈo et Juliette the
best-looking production in the Met’s current repertory or what?
It was, of course, only a coincidence, but a week of ideal spring weather — no rain and low humidity — found Shanghai in a perfect mood for an all-Mahler program by the Shanghai Symphony Orchestra on March 12.