A propósito da reprise de Giulio Cesare, no Met, diz-nos o New York Times:
"The Metropolitan Opera has a big impediment to producing Handel operas: its enormous auditorium. Both “Rodelinda,” which the Met first mounted in 2004 starring Renée Fleming, and “Giulio Cesare,” which opened on Friday in a revival of a staging by John Copley introduced in 1988, were originally presented by Handel in the King’s Theater in London, which seated just 850. In principle the Met’s 3,700-seat house is way too big for early-18th-century opera. Some of the most ravishing moments in “Giulio Cesare” are pensively lyrical arias accompanied by only a small complement of continuo instruments."
De facto, a ópera barroca demanda um ambiente camerístico, queiramos ou não...
Ainda assim, acho louvável que o Met mantenha no activo este tipo de repertório!
By the way, a dupla Daniels & Swenson triunfou, previsivelmente.
A escola americana continua a mostrar o que vale, that’s the main point!
"The Metropolitan Opera has a big impediment to producing Handel operas: its enormous auditorium. Both “Rodelinda,” which the Met first mounted in 2004 starring Renée Fleming, and “Giulio Cesare,” which opened on Friday in a revival of a staging by John Copley introduced in 1988, were originally presented by Handel in the King’s Theater in London, which seated just 850. In principle the Met’s 3,700-seat house is way too big for early-18th-century opera. Some of the most ravishing moments in “Giulio Cesare” are pensively lyrical arias accompanied by only a small complement of continuo instruments."
De facto, a ópera barroca demanda um ambiente camerístico, queiramos ou não...
Ainda assim, acho louvável que o Met mantenha no activo este tipo de repertório!
By the way, a dupla Daniels & Swenson triunfou, previsivelmente.
A escola americana continua a mostrar o que vale, that’s the main point!
>(David Daniels e Ruth Ann Swenson, em Giulio Cesare, no Met)
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