“Kelley is, at heart, a musician, so she really understands how to makes cuts while still preserving the overall musical structure. Within just weeks of the staging’s 2018 premiere, plans were already underway to add it to the company’s repertory of holiday presentations, and Rourke-with her experience providing translations and children’s operas for more than a dozen opera companies, including English National Opera, Welsh National Opera, and Opera Theatre of Saint Louis-was selected to lead the effort. Mezzo-soprano Stephanie Blythe and bass-baritone Laurent Naouri, who gave scene-stealing performances during the production’s original run, once again lock horns as Cinderella’s feuding guardians, and Maestro Emmanuelle Villaume takes the podium. Sharing the stage with Leonard are rising star mezzo-soprano Emily D’Angelo in the trouser role of Prince Charming and Australian coloratura soprano Jessica Pratt as the Fairy Godmother. “This is always helpful when trying to introduce new art forms, especially to children.” “This is an age-old story, something people will instantly recognize,” she says. Appearing in an English translation by Kelley Rourke-a librettist, translator, and resident dramaturg for the Glimmerglass Festival and Washington National Opera-this new adaptation of Massenet’s opera runs 90 minutes in an abridged version of Laurent Pelly’s imaginative 2018 production.įor mezzo-soprano Isabel Leonard, who makes her role debut as the title character, Cinderella offers young audiences a perfect introduction to opera. In addition to the popular English-language presentation of Mozart’s The Magic Flute, Metropolitan Opera audiences are invited this month to embark on a musical fairy-tale adventure with Cinderella, the NYC institution's newest family-friendly offering.
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