Gaetano Boni News
Italian composer
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2024-03-28
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2021-01-17 10:27:27
A Life On-Line: Julia Child and Little Tich in music, Rossini's Armida at the Met
[…] at Ely Cathedral, last year [see my interview], it was great to catch up on BBC Radio 3 with the cathedral and the choir for Epiphany Evensong (actually recorded in November!), with music by Warlock, Clucas, Mendelssohn, and Herbert Sumsion [BBC Radio3]. Handel & Hendrix in London posted a lovely video of the current group of Handel House Talent, recorded in concert at the Handel House in December. We heard music by Handel, Bach, Corrette, Boni and Monteverdi, a lovely mix including one of Corrette's delightful Symphonies de Noël, something from Messiah and from the Christmas Oratorio, ending unseasonably but deligtfully with the final duet from L'Incoronazione di Poppea. Performers were Abel Balazs (violin), Lucia Capellaro (cello), Katie Lewis (oboe), Jonatan Bougt (theorbo), Anna Cavaliero (soprano), Frances Gregory (mezzo-soprano) & Pawel Siwczak (harpsichord) [YouTube]. The Scottish Chamber Orchestra's latest programme, recorded in November at the Queen's Hall, Edinburgh, featured music […]
2019-12-10 22:00:00
GOUNOD: FAUST GEDDA - HARPER - GHIAUROV - GAVAZZENI - TEATRO COLON 1971
[…] and far from the French style. Tempi too slow, timid contrasts more typical of Verdi's music than from this exemplary piece of French romanticism, make one wonder why the theater will have called to direct a French opera to a director of sensitivity so far from this music. The stable orchestra has a good performance, although at times it seems to fall asleep under the leaden baton of Gavazzeni, and the choir conducted by Tulio Boni brings moments of great sound effect, especially in the students' scene.The sound reconstruction is acceptable for a live take although at times the sound of the orchestra is pasted. The presentation does not include the libretto but a plot synthesis, photos of the production and an interesting comment by Gustavo Fernández Walker.In short, a great version of this opera, which allows us to follow the evolution of Gedda in an ideal character for his […]
2017-08-02 03:04:00
[…] be startled to know that Edgardo loves her. And Cosentino´s affirmation that "Lucia isn´t mad" simply denies the libretto. Also, she wants everything to happen within the house, obliterating the garden and fountain alluded in Lucia´s first aria; and later, Enrico, instead of receiving Lucia in an ambit with a desk, invades his sister´s own room. Cosentino only respects the cemetery of the last scene. Nicolás Boni´s stark stage design, Imme Möller´s depressing costumes and Rubén Conde´s shadowy lighting are in accordance with the producer´s ideas. The best singer was Darío Schmunck, in firm voice and with stylish phrasing as Edgardo. Fabián Veloz was a sturdy Enrico, more boorish than usual following Cosentino. Oriana Favaro started weakly and gradually found a stronger […]
2014-11-12 20:53:00
[…] completely ridiculous in a Belle Époque ambience. 7) An absurd little ballet of Cupids accompanies the Prelude to the Fifth Act, "Juliette´s Dream", just before the crypt scene. Enough, you get the idea. In other words, the concept is all wrong. But to be fair, some things are pleasant to see. The stage design by Nicolás Boni has some handsome frameworks; the costumes by Lucía Marmorek are agreeable though often against the dramatic situation; the lighting (Alejandro Le Roux) has some good ideas. The choreography by Ignacio González Cano was embarrassing. But there were two reasons to go to this "Roméo et Juliette": Oriana Favaro and Santiago Ballerini. The soprano is […]