I forgot to post for the 75th anniversary of this performance (July 3, 1951) and I am mortified:
Callas's high E-flat at 2:28 that swallows the entire orchestra and chorus is the most astounding feat of vocalism on record. The one guy in the audience who just starts screaming before she even finishes is literally me.
Le Gouverneur, Le Comte Ory, Teatro alla Scala (2014)
The lecherous Count Ory is determined to win the key to Countness Adele’s heart, or rather her bedchamber, and to this end has set up in the countryside as a hermit of enormous power - wooing all the local peasants with his wisdom and “spiritual” prowess. But crashing onto the scene comes his long-suffering governor who has been hunting him hither and yon, and who does not hesitate to reveal his true identity in front of the countess.
But Ory has another trick up his sleeve; if the castle is closed to all men, then what better a prank than to disguise himself and all his knights as nuns escaping from a storm? The governor, powerless to actually go against his titled master, would really rather he stayed out of trouble. But if that won’t work, then the least he can do is get in on the action of drinking his way through the castle’s copious stores of wine.
Such is the profit and honour of being a governor.
Alidoro, La Cenerentola, Opéra Paris (2017), Bayerische Staatsoper (2024), Dutch Nationale Opera and Ballet (2019), Torino (2016) and Teatro Real (2021)
La Cenerentola is the story of cinderella with a few key changes, and one of these is the character of the fairy godmother being exchanged for the prince’s tutor Alidoro.
He is a man of many guises, appearing first as a beggar to test the hearts of the prospective brides, a registrar to question where the third sister of the household is, a benefactor of enormous supernatural power, and a wise friend to both the prince and Cenerentola.
Apart from being a character I deeply love, I also love the sheer variety of his characterisation in different productions. By turns paternalistic, fae, sombre, mischievous, wise, and chaotic, he’s just as comfortable causing a miracle as he is causing an injury to Cenerentola’s abusive stepfather.
Thinking about this version of this aria constantly...Zeani is the only one who convinces me that she would actually jump off the bridge if she can't have her man
@parmandil I would like you to know that my phone glitched and for a good thirty seconds I had to contemplate that I had wildly misinterpreted the sound design of Benamor