After dinner at the restaurant I've been having almost all my pre-opera meals at this season, we were treated to a delightful rendition of the Mozart classic. I was very happy with the quality of the performances. As some may have noted, I can be more than a bit of a fuss-pot about certain things, but I had no cause for complaint this evening.
Julius Rudel, one of the founders of City Opera, was the conductor for the evening. He was joined on stage by one of the best opera ensembles I've seen at NYCO. All the singers were loud and clear, showing the audience how opera should be sung. James Maddelena's Don Alfonso, Ryan MacPherson's Ferrando and Kyle Pfortmiller's Guglielmo were all fine renditions of their roles, and the ladies of the cast held their own against them quite admirably. (Something that unfortunately I have not been able to say about other productions this season.) I was particularly taken by Julianna Di Giacomo, making her debut with City Opera as Fiordiligi -- I found her expressive, emotive and captivating. She will be joining the Metropolitian Opera this season too, from what the cast notes said -- another of the many fine singers that City Opera turns out for the delight of opera audiences. (Only the folks who go to City Opera won't have to pay $250 and up to hear her sing with this company, unlike the people in the theater next door.)
I was a bit puzzled by the set designer's use of a camera obscura as the stage decoration theme, though. I'm sure he was trying to convey something -- I just can't think of what. But then again, I've never been all that avant garde, preferring traditional stagings, generally.
~~ feels insufficiently artsy ~~