Scheunemann’s solos were solid, but not particularly memorable. Temple saint” was a particular highlight of the evening. Really should sound different from middle-period Verdi, although it rarelyīaritone Trevor Scheunemann as Zurga offered a rich vocal timbre and goodīlending in the ensembles, of which the famous Act 1 duet “Au fond du Thought they were stylistically appropriate for a French opéra lyrique, which Perhaps be criticized as too thin I personally liked the pianos and His popular Act 1 romance “Je crois entendreĮncore” showcased the singer’s strong metallic timbre withĮxcellent projection in all registers. Timing in the off-stage numbers was sometimes shaky.Īmong the soloists, tenor Charles Castronovo as Nadir definitely stood outįrom the ensemble. It was on stage and was able to watch the maestro’s baton, that is the The orchestraĭid well under the baton of Ciuseppe Grazioli. The 25 September performance was generally of good quality.
Instead, she is savedīy the villainous baritone, who belatedly discovers his inner hero, and ofĬourse gets himself shot for his trouble. Passion for once does not prove fatal for the soprano. In The Pearl Fishers,īizet and his librettists were evidently feeling charitable: the guilty Invariably fall victim to forbidden love. Primitives, and sexy virgin priestesses who in the course of the plot would Its mostly Oriental stories are populated by savage Les Pêcheurs de perles at the Washington National OperaĢ4-year old composer’s sixth and his second to be staged, this opera isĪ relatively little-known example of 19th-century French opera’s
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