BWW Review: With Meade and PIRATA, Crutchfield's Bel Canto at Caramoor Goes Out with a Bang

BWW Review: With Meade and PIRATA, Crutchfield's Bel Canto at Caramoor Goes Out with a Bang

BWW Review: With Meade and PIRATA, Crutchfield's Bel Canto at Caramoor Goes Out with a Bang
Santiago Ballerini and Angela Meade.
Photo: Gabe Palacio

Chemistry in an opera performance is a funny thing. It's not always easy to explain why it's there, but you know when it isn't. But when it works, it works--and, boy, the Caramoor Festival's concert staging of Bellini's IL PIRATA on Saturday was on fire, with Angela Meade as the star soprano and Will Crutchfield on the podium. Even the weather cooperated for the most part, aside from a few sprinkles, with only a hint of the heat and humidity that often turn these performances into a steambath.

With PIRATA, Crutchfield ended his 20-year run of championing a largely bel canto repertoire at Caramoor (he's off to a new venture at SUNY Purchase next year, Teatro Nuovo). It was not only a great success for Meade as Imogene--one of those put-upon heroines that are a mainstay of opera seria--but a smashing performance in general, drawing nuanced playing from the Orchestra of St. Luke's, the chorus and other members of the cast.

This is not the first major role Meade has debuted at the Westchester venue, including Norma, which she'll do at the Met this year, but, in this one, she gave us some of her best singing...which is saying something. She took a bit to warm up, but when she did, she sang magnificently, lyrically potent, particularly when it got to the mad scene, showing off her agility and fiery sound. Just as importantly, her dramatic skills were keenly in focus--in turns temperamental and put-upon, but always subtle--and she made the character a flesh-and-blood woman.

BWW Review: With Meade and PIRATA, Crutchfield's Bel Canto at Caramoor Goes Out with a Bang
IL PIRATA ensemble at Caramoor. Photo: Gabe Palacio

Bellini's score--the first of four great operas he produced between 1827 and 1831 that also included I CAPULETI E I MONTECCHI, LA SONNAMBULA and NORMA--is surprisingly potent, starting with a stormy opening scene that Boito might have cribbed for OTELLO. Still, one can't underestimate the success of the libretto by Felice Romani in how well the opera works. (Too bad he and Verdi didn't collaborate again after the early IL GIORNO DI REGNO, considering some of the sub-par libretti the master used for many of his works.)

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Richard Sasanow Richard Sasanow is a long-time writer on art, music, food, travel and international business for publications including The New York Times, The Guardian (UK), Town & Country and Travel & Leisure, among many others. He also interviewed some of the great singers of the 20th century for the programs at the San Francisco Opera and San Diego Opera and worked on US tours of the Orchestre National de France and Vienna State Opera, conducted by Lorin Maazel, Zubin Mehta and Leonard Bernstein.