on Friday night, a smattering of late arrivals were seated in the Academy of Music. Mimì was already on her deathbed, and by 8:30, she was gone. And you had to wonder: Could these latecomers have any idea where this story was going next?
Reversing the order did leave Sharon with a question illustrated by those latecomers, which was whether to make clear to the audience that it is experiencing the opera as a series of flashbacks. I’m actually not sure listeners needed anything more than an introductory paragraph on the supertitle board explaining just that.
That is a lovely moment. But the lovelier ones still rest in the hands of the orchestra, singers and conductor, and even if you aren’t convinced by the reverse-order concept all the reasons we loveMuch of the credit for uncovering the music’s dramatic power goes to conductor Corrado Rovaris and the Opera Philadelphia Orchestra. The ensemble could use a few more strings, but the instrumentalists met Rovaris’ quick, flexible sense of pacing with great polish and expressiveness.
Joshua Blue was a wonderful Rodolfo throughout the opera, but by the time we got to the first act , his voice seemed to have grown even more relaxed and powerful, especially in “Che gelida manina.” Rovaris’ bias for keeping things moving served the music well, but in this famous aria, he and Blue ended the held high note just a hair before the emotion could fully bloom. Maybe they’ll venture a bit more risk in future performances.
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