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FROM AROUND THE WORLD: MILWAUKEE.(Review)

Opera News

| July 01, 2001 | KOOPMAN, JOHN | 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

What is there about the characters in the Almaviva household that makes us want to know more about them? Beaumarchais's play La Mere Coupable (set by Darius Milhaud in 1967) and, more recently, John Corigliano's opera, The Ghosts of Versailles, undertook to extend their story. Now Skylight Opera has presented a new production of Rosina, a chamber opera by librettist Barbara Field and composer Hiram Titus, which does the same. Neither comedy nor fantasy, Rosina's slight story, like that of La Mere Coupable, makes Rosina the mother of Cherubino's child. Cherubino has become an artist, and it is through his paintings of Rosina -- posed as a Madonna -- that her husband, Count Almaviva, tracks the lovers to Madrid. Traveling with his mistress du jour, he comes to ask Rosina to return to him, coldly adding that she can bring her "souvenir" with her. The strongly formalistic libretto -- a series of arias, duets and ensembles -- quite dominates Titus's score, harmonies and scoring of which often sound as though he studied with Richard Strauss.

The cast was mixed. Soprano Emily Martin made Rosina a sympathetic character and successfully traversed the role's wide vocal range. But her small ...

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