Rota handles all this with grace and deftness, filling in with the chattering, scampering music that is de rigueur in movie comedies. It had some advantages. Rossini, Offenbach, Gilbert and Sullivan, Lehar—these were some of the composers whose names kept recurring in the mind during the New York premiere of Nino Rota's opera buffa “The Italian Straw Hat,” which was presented by the John Brownlee Opera Theater of the Manhattan School of Music on Thursday night. A wonderful jealousy aria begins in a lugubrious waltz tempo and builds to a climax that overpowers the singer. After considerable searching he found the pencil sketches buried amongst other work he had begun during those years, and found that he actually had a hard time making them out.At that point Simone Cuccia became the intendent of the Teatro Massimo of Palermo, Sicily. Nino Rota. I knew Mila Gibson was bigger than life from our encounters at the annual OPERA …
Lowell Detweiller's clever sets created a variety of moods, from gilded .villa to pastel hat shop, yet allowed the section to flow.
If it does not have Its own individuality, it is never literally imitative, and it is always buoyed up by a mocking, even self‐mocking, attitude.There is a Viennese love duet, which in the farcical context is both charming and funny. Posted on July 22, 2011 by David O'Dell —Broadway’s Braden Toan to conduct Offenbach’s La Périchole— Amarillo Opera announces … n the midst of a polar vortex this winter, MN Opera sends an early valentine filled with warmth to the Twin Cities in their production The Italian Straw Hat at the Ordway Center's Orchestra Hall. Although “The Italian Straw Hat” was written before he went into the business, it reflects the skill that the composer has shown in writing for films in the last 25 years.The Manhattan School did itself proud with the production, which could not have been simple to stage in its smallish John C. Borden Auditorium. musings from the General Director of Amarillo Opera. The bridegroom must find an exact duplicate so her husband will not suspect her, all the while fending off the suspicious of his own fiancée and her relatives, and still make it to his wedding on time.Contemporary Modern. His brilliant aot curtain showed a map of Paris an which lights traced the travels of the hero and his entourage.Mr. All the rest of the roles were handled with skill both in the singing and acting.It is not fair to single anyone out, yet a few might be mentioned, Susan Quittmeyer (a Baroness) for her rich mezzo, David Kline (Nonancourt) for his sonorous bass and Sally Jo Anderson (Elena, the bride) for her sprightly soprano and the amusingly bewildered air she managed to sustain.See the article in its original context from.TimesMachine is an exclusive benefit for home delivery and digital subscribers.This is a digitized version of an article from The Times’s print archive, before the start of online publication in 1996. NINO ROTA'S 1955 OPERA FARCE, The Italian Straw Hat, makes a rare North American appearance this month when Minnesota Opera offers the U.S. premiere of Andrea Cigni’s production, created for the 2013 Wexford Festival.Rota (1911–79) is best known for his more than 150 film scores, which include The Godfather and The Godfather II for Francis Ford Coppola, … Skip to content. This was also a huge success, and numerous other productions followed, including a video version for RAI, Italian Television, and a recording by RCA Italiana records.The story is a complicated French sex farce that is set in motion when a nervous young bridegroom, out riding on the morning of his wedding, unwittingly compromises a lady when his horse munches on the straw hat she has left hanging on a branch of a park during an assignation. Several years later they urged him to take it up and finish it. The Italian Straw Hat is a five-act comedy by Eugène Labiche and Marc-Michel. Rota’s opera is based on a 19th-century French play, The Italian Straw Hat, by Eugene Labiche, a highly regarded author of popular “romps”. In the pursuit are involved his bride, wedding guests and assorted Parisian types.The score evokes the lighthearted styles of comic opera and operetta in a delightful pastiche. Amazon: blue highlight denotes track pick. Galterio maneuvered his large cast and chorus around the stage with remarkable shrewdness and invention.
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