A Double Bill From the Royal Theater in Turin

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Thursday, May 07, 2015

Granados' 'Goyescas' from the Teatrio Regio in Turin, Italy. Granados' 'Goyescas' from the Teatrio Regio in Turin, Italy. (Ramella&Giannese / Teatro Regio Torino)

This unusual double bill features Puccini's "Suor Angelica," the mystical one-act middle drama from Puccini's well-known triptych of one-act operas, "Il Trittico,"  plus an opera that began life, literally, at the keyboard. Granados' "Goyescas" is based on music from a popular set of piano pieces inspired by the romantic paintings of Francisco Goya.

Puccini began "Suor Angelica" at about the same time Granados was preparing for the premiere of "Goyescas" in 1916. "Suor Angelica" waited until 1918 for its first performance, though both dramas were premiered at the same opera house, the Metropolitan Opera.

World of Opera host Lisa Simeone presents the double bill from the Teatrio Regio — the Royal Theater — in Turin, Italy.  Soprano Giuseppina Piunti and tenor Andeka Gorrotxategui feature in "Goyescas," with soprano Amarilli Nizza in the title role of "Suor Angelica."


In "Goyescas":
Rosario: Giuseppina Piunti (soprano)
Fernando: Andeka Gorrotxategui (tenor)
Pepa: Anna Maria Chiuri (mezzo-soprano)
Paquiro: Fabián Veloz (baritone)

In "Suor Angelica":
Sister Angelica: Amarilli Nizza (soprano)
Princess: Anna Maria Chiuri (mezzo-soprano)
Abbess: Maria Di Mauro (mezzo-soprano)
Monitress: Silvia Beltrami (mezzo-soprano)
Sister Genovieffa: Damiana Mizzi (soprano)
Sister Osmina: Nicoletta Baù (soprano)

Teatro Regio Orchestra, Chorus and Children's Chorus
Children's Chorus of the Giuseppe Verdi Conservatory
Donato Renzetti, conductor

Puccini's 'Suor Angelica' from the Teatrio Regio in Turin, Italy.


Comments [1]

Les from Miami, Florida

Here's a chance to hear an opera most everyone only know of as a footnote --- myself included --- with its Metropolitan Opera World Premiere there on 28 January 1916 in the presence of Granados and his wife with Giovanni Martinelli and Giuseppe de Luca as pricipals and Gaetano Bavagnoli its conductor. Maestro Martinelli gave two lectures in London (in English)about verismo composers he knew and worked with and the second about singing Verdi. About "Goyescas", he remarked that Manager Giulio Gatti-Casazza wondered why rehearsals took so long for this relatively short opera. Little did he know that the cast were spending time listening with rapture to Granados's piano playing, an art in which he excelled. It's so tragic that he and his wife lost their lives on the return trip to Spain by steamship. I don't see a stylistic or thematic connection between "Goyescas" and "Suor Angelica", but that aside, I always wondered if Puccini consciously (and/or intentionally) knew about Magda's reading of Ruggero's mother's letter in "La Rondine" in which she hopes his wife-to-be will be one of "purity" and Suor Angelica's singing about her son's "purity" as an angel in heaven" use the same notes in the same key in a descending pattern: in "La Rondine" (F major, 2/4), C B flat A "...buona mite pura"; and "Suor Angelica" (F major, 4/4) "...uno angelo del cielo" in "Senza Mama", followed almost immediately by an orchestral passage with the same in the 'cellos then in the full orchestra. Many thanks to "World of Opera" for broadcasting this double bill and, of course, to Teatro Regio for its staging them in the first place.

May. 07 2015 09:19 AM

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