Well, I managed to get to all the operas this time – and in the first week, too. But other blogging priorities kept me from getting to them here in “Eargasms.” It’s just as well; I’ve had time to stew about them and discuss them with others (not that what anybody told me changed my own impressions, of course). And so I’ll be blogging about them in these final festival days, as things wind down. In the interest of attention spans, I’ll take ‘em one at a time.
And I’ll start off with the one I saw first – and reviewed in print: Gluck’s absolutely delightful L’Ile de Merlin. Between my preview and my review, I said most of what I wanted to say about that one – save for a couple of insider observations. So just go click and check ‘em out, if you like. (Oops — I’m having trouble with my preview link — will get that one to you later).
But I’ve just gotta share this with you. Eugene Brancoveanu, the young Rumanian baritone who sang the role of Scapin – one of the two Parisian dolts that serve as the opera’s “heroes” – happens to be a very bright and cultured person. I know, ‘cause he hangs out at Millennium Music often. If you’ve read the above-linked materials, you know that I’ve compared him and his cohort, Pierrot (sung by Spoletovet Keith Phares) to our own beloved cultural icons, Beavis & Butthead. And believe me, it was extra-funny to watch such an intelligent and accomplished person play a character who’s terminally dim-witted. For somebody who grew up in a different culture, he’s really got those B&B mannerisms down pat. Or, could it be, as with music, that the language of STUPID is also universal?
Oh – and Eugene would like you to know that both he and sidekick keith Phares are BARITONES – not tenors, as reported er … elsewhere.
Watch for my rather tortured encounter with Faustus … coming sooon.
