NEW YORK CITY La Hija de Rappaccini Gotham Chamber Opera 6/17/13 T he Brooklyn Botanic Garden made a most appropriate selection for the first opera. ABSTRACT. In his drama, La hija de Rappaccini (written in ), Octavio Paz re – creates Hawthorne’s tale, “Rappaccini’s Daughter” (first published in ). In a Gotham Opera production of ‘La Hija de Rappaccini’ at Greystone Mansion, much of what makes Daniel Catán’s work remarkable comes.

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Balances sounded artificial, as though they were whatever a sound designer wanted them to be. The opera was first performed, with some of the same forces in a different staging apparatus, at the Teatro del Palacio de Bellas Artes in Mexico City three years ago.

The best art and classical music in town. Go forth and multiply! Barbara Bush created the simple, stylish costumes. How far should he go? His flair for dramatic orchestration, as well as his melodic language, is an update on the tradition of Puccini and Respighi [with a] lushness of the score.

July 22, By Mark Swed. However much sweetness and color orchestration loses in the clangorous chamber version, marvelous percussive effects create a different kind of exoticism, such as the harp glissandi contrasting with glissandi of strummed strings inside the piano. The actor, who was both connoisseur and also the deliriously over-the-top investigator of evil as the mad Dr.


Giovanni enters the garden alone and finds Beatriz, who is startled. Catan’s score certainly avoids the easy lurid road. Catan’s Padua proved more congenial for the tenor than Verdi’s Mantua, which he explored here last month.

From Wikipedia, the free encyclopedia. Amplification at Greystone proved relatively crude, and the instrumental ensemble and conductor Neal Goren were a considerable distance from the stage.

At the same time, there is something deeply disturbing about this. Reproduce in my image. Venturing a Mexican Fantasy. The vocal lines, unfortunately, aren’t exactly fascinating.

Scene 4 In his garden, Dr.

Daniel Catán – La Hija de Rappaccini (Rappaccini’s Daughter) () – Music Sales Classical

In disbelief, he questions what he saw. I like dd image of the Master of Menace, as Price was dubbed, wandering among the manicured horticulture that oil baron Edward L.

Galileo, Newton, Einstein, they all were fe visionaries. John Conklin designed a strikingly spare set rappaccinj frames the conflicts in an expressionist realm defined by cool neon accents, platforms raked at distorted angles and an endless array of huge flower-cutouts that drop from the sky and float across the stage invoking the mysterious sensuality of Georgia O’Keeffe.

This page was last edited on 17 Aprilat She bija that she had been waiting for him. We look into the abyss and experience the limit of our humanity. By using this site, you agree to the Terms of Use and Privacy Policy. Beatriz’s Aria, sung in the garden of Dr. Copyright Los Angeles Times. The doctor tells Giovanni that he wishes to be friends.


Review: ‘La Hija de Rappaccini’s’ passionate exoticism

Isabela rushes to rappaccjni and reveals that there is a secret entrance to Dr. Scene 2 Giovanni, a young medical student, arrives from Naples.

The central focus–and central victim–is the doctor’s innocent daughter, Beatriz, whose blood bears a fatal gift. But there it was, Saturday night at the Civic Theatre: Doheny was once able to cultivate thanks to his exploiting local and Mexican markets. Giovanni sings of his desire for Beatriz. Giovanni confirms and Isabela shows him to his room.

A modern geneticist can eradicate certain characteristics of, say, corn, by manipulating its genetic structure. Contrary to cautious tradition, modernism can be alive and well at the San Diego Opera. Arts and culture in pictures. She touches his hand in the process. He then accuses Beatriz of administering deadly potions and being a danger. Baglioni arrives and tells a story of a beautiful woman who turned out to be a deadly trap.

Scene 6 In his dream, Giovanni enters Dr. He adds that taking any antidote will result in death.

The event was billed as “the first fully-professional production of an opera by a Mexican composer to be staged in the United States.