Patricia Racette’s Trittico

Claudio Vellutini

martes, 6 de octubre de 2009

San Francisco, martes, 15 de septiembre de 2009.

War Memorial Opera House. Giacomo Puccini. Il Trittico. James Robinson, director. Allen Moyer, set designer. Bruno Schwengl, costume designer. Christopher Maravich, light designer. Patricia Racette (Giorgetta, Suor Angelica, Lauretta), Paolo Gavanelli (Michele, Gianni Schicchi), Ewa Podleś (Princess), Brandon Jovanovich (Luigi), David Lomeli (A Lover, Rinuccio), Catherine Cook (La Frugola, Monitor, La Ciesca), Andrea Silvestrelli (Il Talpa, Simone), Rebekah Camm (Suor Genovieffa, Nella), Meredith Arwady (Abbess, Zita), Thomas Glenn (Song Vendor, Gherardo), Daveda Karanas (Mistress of the Novices), Matthew O’Neill (Il Tinca), Austin Kness (Marco), Jake Gardner (Betto), Tamara Wapinsky (A Lover, First Alms Sister), Leah Crocetto (Suor Dolcina), Heidi Melton (Nursing Sister), Daniela Mack (First Lay Sister), Renée Taum ( Novice), Levi Hernandez (Amantio de Nicolao), Kenneth Kellogg (Pinellino), Kyle Reidy (Gherardino), Dvora Djoraev (Second Alms Sister). San Francesco Opera Orchestra. San Francisco Girl Chorus. San Francisco Boys Chorus. Ian Robertson, chorus master. Patrick Summers, conductor

Puccini’s operas have always held a special place in the hearts of opera-lovers. Critics, on the other hand, have often voiced protest against his music, claiming that its accessibility is an easy way to please the ears of the many without engaging in the quest for a truly innovative musical language as other early-twentieth-century modernist composers were doing. Il Trittico (The Tryptic, a work made up of three one-act operas) has particularly suffered from this argument. Premiered at the New York Metropolitan in 1918, its reception had to cope with the ideas and aesthetic principles resulting from the devastating experience of World War I. In particular, the sentimentality and the mystic aura of Suor Angelica, the second “panel” of the Tryptic, could hardly fit in with the musical scenario of the post-war years. It comes as no…

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