I Puritani at the Met

Videos from the Metropolitan Opera’s production of I Puritani

Earlier this year, Mr. Cosmo told me how wonderful it was to see I Puritani live at the Met Opera. I wasn’t able to see it at the time, so when I found this opportunity to see the production, I was so happy that I immediately bought a ticket.

Lisette Oropesa sang Elvira and Lawrence Brownlee sang Arturo. I had previously heard Ms. Oropesa live as Violetta in La Traviata and Mr. Brownlee as Tonio in La Fille du Régiment, so it was a real joy to see these two wonderful singers together. I found their performances deeply inspiring.

The staging was also very interesting. Elvira was portrayed as a painter, depicting an artist who continues to express herself through art despite living under oppression. I found this interpretation particularly fascinating.

I also found Maestro Marco Armiliato’s interview particularly interesting. He explained that in Bellini, the orchestra should support the singers so completely that it can almost sound as though the orchestra is being deliberately restrained, so as never to interfere with the beauty of the voice. He also said that even when playing fortissimo, Bellini’s sound is completely different from the fortissimo of Wagner or Verdi. He told the orchestra not simply to “play,” but to “listen.” I found this idea very fascinating.

I was absolutely amazed when Mr. Brownlee sang the high F with such apparent ease. His crystal-clear tone and extraordinary technique were breathtaking!

Once again, I was also completely drawn into Ms. Oropesa’s incredibly convincing acting. The expression in her eyes—first innocent and completely trusting, and later almost delirious—was overwhelming. Her voice also seemed perfectly suited to the atmosphere of the opera. She never felt out of place within its world, yet at the same time, there was something remarkably individual about her: a clear, pure, almost solitary sound that carried beautifully through the theater.

I also learned a great deal from Maestro Armiliato’s ability to grasp the entire architecture of the work and lead the performance as a whole, as well as from the beautiful, focused sound that carries so effortlessly into a large hall. These were especially valuable lessons for me as I prepare for next year’s concerto performance.

I am very grateful to Mr. Cosmo for introducing me to this opera, and to Mr. Alexander for teaching me about bel canto. Since I had the opportunity to study and gain some experience accompanying opera last year, I find listening to opera even more fascinating now. I feel that I can appreciate it from another perspective as well.