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FROM AROUND THE WORLD: LOS ANGELES.(Review)

Opera News

| June 01, 2001 | GREGSON, DAVID | COPYRIGHT 2001 Metropolitan Opera Guild, Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

It has been approximately thirty-five years since Handel's Giulio Cesare was last seen at the Los Angeles Music Center. That occasion, long before the creation of Los Angeles Opera, was a visit of New York City Opera with the Tito Capobianco production that helped spark a revival of Handel's operas worldwide while significantly boosting the career of Beverly Sills. The diva, not yet a household name, riveted L.A. audiences with her performance as Cleopatra.

In its most recent incarnation at Los Angeles Opera, Giulio Cesare received the sort of treatment that is now considered authentic, including a pared-down orchestra, led by early-music specialist Harry Bicket, and three countertenors. However, so many treble voices significantly reduce the impact of the role of Cleopatra, even when sung by so remarkable a soprano as Elizabeth Futral.

Seen February 27, David Daniels (Cesare), David Walker (Nireno) and Bejun Mehta (Tolomeo) inspired wonder and admiration with their remarkable technique, even to the point of inciting the formation of noisy little audience claques who made their preferences clearly known. Mehta's ...

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