After Bomarzo…

Just as the last major events of the spring season approached, including the final performances of Otto Schenk’s production of Wagner’s Ring des Nibelungen at the Met, I realized that if I did not travel to Italy for an important family visit—no, it was not a junket to cover the grand opening of Angels and Demons—I would not be able to do it for months. I felt much better when I found that two extraordinary people were available to take my place: Rebecca Kim, a brilliant recent Ph.D. from Columbia, who wrote her dissertation on John Cage, had just completed one of the Met’s Ring Cycles and was willing to take my seat for a second traversal, and Roza Tulyaganova, who has delighted audiences with her Fiordiligi in Così and her Countess in Figaro, and is equally well-prepared to analyze performances through her work as a candidate for a doctorate in musical arts at Stony Brook.

Mozart/Da Ponte, Le Nozze di Figaro, the debut of the Capital Opera Company, Albany

Last August, tipped off by friends of the always-remarkable Richard Giarusso, I ventured up to Cambridge, New York, to hear him conduct Mozart’s Così Fan Tutte at Hubbard Hall, a nineteenth-century “opera house,” which has seen many vicissitudes, but is now flourishing as a community arts and performance center, thanks to the enthusiasm of its local supporters. It was also the inauguration of a new institution, the Hubbard Hall Opera Company, the brainchild of Alexina Jones. The performance was a delight because of the quality of the young, solidly trained voices, the imaginative use of the hall as a three-dimensional performance space, and the lively acting of an intelligently directed cast, who wanted nothing better than to bring Da Ponte’s human comedy and Mozart’s music to life.

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