Title bandit verdi opera
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Marco Armiliato’s conducting ran the gamut. The baroque, energetic contours of Samaritani’s set designs impress, but the staging, no great shakes thirty years ago, is a strictly park-and-bark affair. Mary Anny McCormick, Jeremy Galyon, and Adam Laurence Herskowitz performed minor roles capably, and the men of the Metropolitan Opera Chorus under Donald Palumbo served up a lusty drinking song in the opera’s opening scene and a thrilling Si ridesti il Leon di Castiglia. His inky, hate-filled tone in the opera’s final scene ( Ecco il pegno) chilled the blood, though almost any of his utterances could be singled out for musical and dramatic mastery. Ferruccio Furlanetto, a masterful Silva in seasons past, showed again why he is today’s greatest interpreter of Verdi’s bass roles. In somewhat brittle voice during the opera’s opening scene, De Biasio grew from strength to strength as the evening went on, though his warm and soulful sound sometimes disappeared in ensembles and in duet with his force-of-nature leading lady. Roberto De Biasio in the title role delivered the text with exemplary clarity and cut a handsome, sympathetic figure as Verdi’s doomed bandit. His best moments came with the suave, patronizing irony of Vedi come il buon vegliardo and the noble, long-breathed phrases of O sommo Carlo. As often happens when he performs Verdi, Hvorostovsky inflated his gorgeous voice, barking his way through Lo vedrem, o veglio audace and shouting at the climax of O dei verd’anni miei. Other baritones simply walk through a door Hvorostovsky, instead, conveyed all of his character’s predatory hauteur with the tilt of his head and the snake-like glimmer of his eyes before he had sung a single note. In his role debut, Dmitri Hvorostovsky made a memorable entrance as Don Carlo, the libidinous king of Spain. All the same, to judge by the roar that greeted her big scenes and curtain calls, the Met’s investment in Meade may well garner the company a real star. She has a tendency to breathe in the middle of words and her tone, for all its splendor, sometimes turns squally and seems less than ideally controlled. Like any up-and-coming artist, Meade also has faults to iron out. She negotiated the peaks and valleys of Ernani, involami with ease and commendable agility, and her cadenza was a thing of heart-stopping beauty, a buoyant, shimmering pianissimo that recalled Montserrat Caballé. She has a sumptuous voice-lush, blooming, bright and majestic as sunlight-and her proud stage presence is that of a diva to the manner born. A recent winner of the Beverly Sills Artist Award for young singers, Meade in recent years has attracted notice with second-cast and cover performances of Verdi and Donizetti at the Met and the fearsome title role of Bellini’s Norma at the Caramoor Festival. Much interest centered on the evening’s Elvira, the soprano Angela Meade. The tale of a bandit loved by a young woman who spurns both a dynastic marriage and a king’s favors only to have her beloved die in her arms- Ernani is as tough a sing as Il trovatore, with which it shares a reckless, smoldering exaltation. It was his first European triumph, and it also marked his first collaboration with the librettist Francesco Maria Piave, his most important partner.Įrnani returned to the Metropolitan Opera Thursday night in a middling revival of Pier Luigi Samaritani’s 1983 production, now staged by Peter McClintock. Nearly as momentous was the Hugo-inspired Ernani in the career of Giuseppe Verdi.
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Historians say that the months-long aesthetic battle spilled over into real combat: the July Revolution that brought about a constitutional monarchy in France. Partisans of Hugo’s Romantic principles and greybeard Classicists squared off, trading insults and blows. “That one evening shaped my entire life,” wrote the poet Théophile Gautier of the tumultuous 1830 premiere of Victor Hugo’s drama Hernani. Angela Meade as Elvira and Roberto De Biasio as the title character in Verdi's "Ernani" at the Metropolitan Opera.