I saw Sills do all 3 roles. Elisabeta in DEVERUEX was her best one, and her recording with the last scene done in one take is still stunning.
Not until I saw DiDonato as Maria Stuarda did that resonate. Joyce DiDonato outdid herself as Maria Stuarda in The Met broadcast and ignites the Donizetti score.
Ironically, I found myself listening to Dimitra Theodossiou (Elisabetta) perform "Quel Sangue Versato" - the final aria in the final act of Gaetano Donizetti's "Roberto Devereux" - just as Nikki Haley was delivering her "My Heart Will Go On" speech, following her loss in today's New Hampshire Republican primary. This week I was reminded how much I enjoyed your past entries on the "Tudor Trilogy" and took time to enjoy a 2006 production by the Teatro Donizetti di Bergamo (https://youtu.be/MPM45VoDgOY).
Recalling what I know about the turbulent histories of Mary Stuart, Anne Boleyn and Elizabeth I, I find myself wondering what lessons from their mid-16th century royal reigns in France, Scotland and England, might be useful to American women who seek the power of the American presidency. After all, in our republic (if we can keep it), only qualified male candidates have ascended to power, after winning a grueling campaign for the votes of the citizens. Heredity or marriage status take a back seat to money, media and managing appeals to voter interests and issues.
In some ways, these three queens, each of whom wielded absolute power, fell victim to forces beyond their control. Mary was caught up in palace and political intrigues in two nations and lost her head. Anne Boleyn fell out of favor with her Henry VIII, at the cost of both her throne and her life. Only Elizabeth I survived to rule England for 44 years, and relinquished her throne to James I, the only son of her rival, cousin Mary.
The American leader of the future, whether male or female, will already assume that to rule our country places extraordinary demands on the heart, mind, body and spirit. For me, an essential qualification, as well as an asset for the presidency, is to be a patron of the performing arts. In contrast to the rewards of prestige, power and authority sought in the political realm, the art of opera offers the gifts of respite, escape, healing, magic and enlightenment about the human condition.
Opera's orchestral compositions, artfully written librettos, carefully staged theatrical productions, and artists on the stage and in the orchestra, work together to magnify the feelings, emotions and passions of characters in order to evoke in the audience shared understandings of the human experience. What would Congress be like if elected officials were required to be trained in the collaborative skills of the performing arts, in addition to the adversarial skills of the law?
Thank you for your feedback. I wish we could bring Washington politicians and opera stars together for a master class dedicated to these ideas. I certainly don't have the clout, cachet or access to make it happen. Fortunately, renowned opera stars (and local favorites) Renée Fleming and Denyce Graves, who are uniquely positioned at the intersection of politics and art, could make it happen.
Thank you for your feedback. I wish we could bring Washington politicians and opera stars together for a master class dedicated to these ideas. I certainly don't have the clout, cachet or access to make it happen. Fortunately, renowned opera stars (and local favorites) Renée Fleming and Denyce Graves, who are uniquely positioned at the intersection of politics and art, could actually make it happen. Maybe I'll ask.
I saw Sills do all 3 roles. Elisabeta in DEVERUEX was her best one, and her recording with the last scene done in one take is still stunning.
Not until I saw DiDonato as Maria Stuarda did that resonate. Joyce DiDonato outdid herself as Maria Stuarda in The Met broadcast and ignites the Donizetti score.
Nobody ever gave more to a role than Sills both vocally and dramatically. She let it all hang out whether you liked it or not. Brava Bubbles.
Ironically, I found myself listening to Dimitra Theodossiou (Elisabetta) perform "Quel Sangue Versato" - the final aria in the final act of Gaetano Donizetti's "Roberto Devereux" - just as Nikki Haley was delivering her "My Heart Will Go On" speech, following her loss in today's New Hampshire Republican primary. This week I was reminded how much I enjoyed your past entries on the "Tudor Trilogy" and took time to enjoy a 2006 production by the Teatro Donizetti di Bergamo (https://youtu.be/MPM45VoDgOY).
Recalling what I know about the turbulent histories of Mary Stuart, Anne Boleyn and Elizabeth I, I find myself wondering what lessons from their mid-16th century royal reigns in France, Scotland and England, might be useful to American women who seek the power of the American presidency. After all, in our republic (if we can keep it), only qualified male candidates have ascended to power, after winning a grueling campaign for the votes of the citizens. Heredity or marriage status take a back seat to money, media and managing appeals to voter interests and issues.
In some ways, these three queens, each of whom wielded absolute power, fell victim to forces beyond their control. Mary was caught up in palace and political intrigues in two nations and lost her head. Anne Boleyn fell out of favor with her Henry VIII, at the cost of both her throne and her life. Only Elizabeth I survived to rule England for 44 years, and relinquished her throne to James I, the only son of her rival, cousin Mary.
The American leader of the future, whether male or female, will already assume that to rule our country places extraordinary demands on the heart, mind, body and spirit. For me, an essential qualification, as well as an asset for the presidency, is to be a patron of the performing arts. In contrast to the rewards of prestige, power and authority sought in the political realm, the art of opera offers the gifts of respite, escape, healing, magic and enlightenment about the human condition.
Opera's orchestral compositions, artfully written librettos, carefully staged theatrical productions, and artists on the stage and in the orchestra, work together to magnify the feelings, emotions and passions of characters in order to evoke in the audience shared understandings of the human experience. What would Congress be like if elected officials were required to be trained in the collaborative skills of the performing arts, in addition to the adversarial skills of the law?
grazie Bob and Michele
Thank you for your feedback. I wish we could bring Washington politicians and opera stars together for a master class dedicated to these ideas. I certainly don't have the clout, cachet or access to make it happen. Fortunately, renowned opera stars (and local favorites) Renée Fleming and Denyce Graves, who are uniquely positioned at the intersection of politics and art, could make it happen.
Thank you for your feedback. I wish we could bring Washington politicians and opera stars together for a master class dedicated to these ideas. I certainly don't have the clout, cachet or access to make it happen. Fortunately, renowned opera stars (and local favorites) Renée Fleming and Denyce Graves, who are uniquely positioned at the intersection of politics and art, could actually make it happen. Maybe I'll ask.