12 Comments

NY City Opera performed an uncut LUCIA with Sills that included the Ravenswood last act. The recent Met production did not serve the Opera well (cute Photo-Flash) Wedding. Callas, Sutherland and Gruberova were all outstanding. Thanks for your efforts here, colleagues have also enjoyed your work too.

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Oct 11, 2020Liked by Opera Daily

A dramatic piece. Took my breath away

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Oct 15, 2020Liked by Opera Daily

Dame Joan Sutherland's performance in the "Mad Scene" from Act III of Gaetano Donizetti's "Lucia di Lammermoor" (Royal Covent Garden, London) was a mind-boggling, 21-minute journey through the incredible colors and athleticism of her phenomenal gifts. I will listen to it again and again. This alone could have earned her the nickname "La Stupenda". I will check out the other renowned artists because you've recommended them, but I have a feeling that this is what they call in Spanish "el colmo". Thumbs up (and some throat lozenges) to those who have embraced bel canto style and technique.

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Oct 17, 2020Liked by Opera Daily

I enjoyed all four renditions of Donizetti's “Regnava nel silenzio” and “Quando rapito in estasi,” from Act I of "Lucia di Lammermoor". I wandered over to Joyce DiDonato's master class after listening to Maria Callas. While trying to follow her instruction, I only succeeded in confirming that opera was definitely not my calling. At least DiDonato enabled me to listen to Anna Netrebko and Edita Gruberova in a more insightful way. I was also surprised that I was able to hum the melody of “Chi mi frena tal momento”, the sextet. As a confessed fan of gangster movies, I'm not sure if I heard it first in "Scarface" or at home. Great opera and the murderous activities of movie mafiosi have become something of a trope. Italy's rich heritage has given the world such treasures. Wikipedia gives me my quick takes on the biographies of the singers. Their stories are often dramatic in their own right. Well, I have lingered in bel canto longer than I expected. Ciao, Italia! Bonjour, France!

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