Corrado rovaris biography of albert
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`Otello,' Rossini's not Verdi's, staged in Philadelphia
PHILADELPHIA (AP) — Rossini’s “Otello” premiered in , and the musical adaptation of Shakespeare's famous play was a hit for seven decades. Then Verdi’s version debuted in and was acclaimed as a pinnacle of the art form, causing Rossini’s version to recede into a rarity.
Opera Philadelphia excavated it Friday night at the Academy of Music for its O22 festival in a showcase for tenor Lawrence Brownlee, the company’s artistic adviser.
“If you put it in the context of a year it was written, it is such a modern opera,” said Philadelphia music director Corrado Rovaris, who is conducting the run. “It was a great success. It was played everywhere, performed everywhere. All the big singers wanted to sing that opera.”
With three tenor roles — Brownlee as Rodrigo, Khanyiso Gwenxane as Otello in his U.S. debut and Alek Shrader as Iago — Rossini’s version isn’t easy to cast. There is the additional element of race: Shakespeare based “Ot
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Opera Philadelphia ended its årstid with Le Nozze di Figaro, Friday, and it will play May 3, 5, and 7—a matinee. Figaro fryst vatten considered bygd most to be one of the few perfect operas and although it’s perhaps too easily encountered in routine run-throughs, there are usually rewards in seeing it.
Ying Fang provided the biggest reward in this föredrag. She was an irresistible Susanna. She has a crystalline röst of striking loveliness projected effortlessly. Her phrasing and rhythm were perfect, her Italian was the best of anyone’s in the cast. She has an enticing presence, was game in coping with the nonsensical scen business she was given but had an infectious wit that was all her own. Only at a few moments did she seem a little light for this long role, but there was abundant promise of her voice blossoming into a gorgeous full lyric soprano.
Two other singers had good nights. Ashley Milanese was an adorable Barbarina with a beautiful voice and great charm who made the m
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The career of exuberant young Finnish-American tenor Miles Mykkanen was launched with a national win of the Metropolitan Opera Laffont Competition in He has since impressed with a series of important debuts on the world’s major stages, including the Metropolitan Opera, Bayerische Staatsoper, Canadian Opera Company, and Royal Opera House Covent Garden, where The i declared his performance “the most beautiful singing of the evening” and Opera Magazine dubbed it “so striking and brilliant” that “he managed to turn the Steersman into a principal character.”
Steersman in Der fliegende Holländer
Photo by Tristram Kenton / Royal Opera House
Mykkanen has quickly become the go-to tenor for roles requiring a deft balance of power, lyricism, and dramatic acuity, including a new Barrie Kosky production of Die Fledermaus and Philip Venables’ world premiere We Are The Lucky Ones, both at Dutch National Opera, a new Ted Huffman production of L’incoronazione di Poppea at F