Review Roundup: NYC Opera's LA CAMPANA SOMMERSA

New York City Opera continued the season with a rare production of Ottorino Respighi's 1927 opera La Campana Sommersa (The Sunken Bell).

Last heard in New York in 1929, La Campana Sommersa was presented in cooperation with Teatro Lirico di Cagliari, with stage direction by Pier Francesco Maestrini, set design by Juan Guillermo Nova, lighting design by Susan Roth and costume design by Marco Nateri. The production features the return of Fabio Armiliato, Michael Chioldi, Marc Heller and Kristin Sampson to City Opera and introduces soprano Brandie Sutton in her New York City Opera debut. The New York City Opera Orchestra will be joined by members of the Teatro Lirico di Cagliari Orchestra, conducted by Ira Levin.

Let's see what the critics had to say:

ANTHONY TOMMASINI, NY Times: For all the surface richness of the music, stretches of this four-act opera feel thin, with soaring melodies that go on too long and melodramatic passages in which Respighi only glances at the more disturbing elements of the drama, which warns of the complications that can arise when the supernatural and mortal worlds mingle. Still, I was delighted to hear it, and impressed by the dedicated, very strong singers who took on demanding roles they are not likely to have opportunities to repeat. The conductor, Ira Levin, drew out the lush orchestral colors and vivid evocations - of prancing elves and such - that course through the work. (For this run, the City Opera Orchestra is joined by players from the Cagliari house.)

Bruce Hodges, NY Classical Review: Marc Heller was Enrico Friday night, replacing Fabio Armiliato, who was suffering from a sinus infection. Heller sang with warm, arresting resonance; in the final act-when Rautendelein revisits him as he is dying-Heller revealed a softer voice and touching characterization. As his anguished wife, Kristin Sampson showed a luscious tone, combined with appropriate sorrow, and Renata Lamanda lent her warm mezzo to make an invitingly mysterious witch.

James Jorden, Observer.com: In this staging co-produced with Teatro Lirico di Cagliari, the ravishing set design by Juan Guillermo Nova mysteriously conjures a shimmering and infinitely receding forest on the tiny stage of the Rose Theater, and Marco Nateri's lavish costumes evoke a dreamy Pre-Raphaelite mood.... The most distinctive element of this opera, though, is the casting, following the NYCO tradition of seeking out the finest and most creative of American artists. The grueling lead role of the tormented bell maker Enrico fell to tenor Marc Heller, who jumped in on short notice when the scheduled singer, Fabio Armiliato, called in sick. He offered a big, muscular sound and unflagging vigor in this high-lying part, and he was particularly moving in the character's surprisingly low-key death scene.

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