Interludes

VIEWPOINTS – Bel canto summer: Teatro Nuovo mounts a charming LA SONNAMBULA and THE VERSAILLES ROYAL OPERA ORCHESTRA debuts

• By drediman
• August 5, 2025
• No Comments

This summer, bel canto seems to be the genre of choice for classical music ensembles, particularly as exemplified by Teatro Nuovo’s 2025 season and the New York premiere performances of the visiting Versailles Royal Opera Orchestra. As per usual, read on for my thoughts.

TEATRO NUOVO: LA SONNAMBULA
New York City Center

First up at New York City Center was Teatro Nuovo’s charming semi-staged production of Bellini’s La Sonnambula (RECOMMENDED) (the other opera of the company’s 2025 season was Verdi’s Macbeth, which I unfortunately missed). As with previous offerings, Teatro Nuovo gave audiences a musically rich account of Bellini’s bel canto opera, buoyantly employing period instruments in a simple yet effective staging (using suggestive projected backdrops, complete with supertitles) that brought a sunny contemporary disposition to the piece. By focusing on elegant music-making — kudos to maestro Will Crutchfield and his superb ensemble — and the humanity of the characters’ journeys, the production overcame some of the silly and implausible aspects of the story (about a young woman who is accused of betraying her betrothed as a result of her sleepwalking habits). The real find of the evening was Abigail Raiford in the supporting role of Lisa. Raiford is an engaging actress with an uncommonly rich voice, and she handled the coloratura requirements of her arias with aplomb; she deservedly received some of the biggest ovations of the evening. In the beleaguered central role of Amina, company veteran Teresa Castillo once again showcased her bright voice, intelligently navigating Bellini’s tricky vocal writing. It’s a performance that grew stronger as the evening wore on. As her love interest, tenor Christopher Bozeka valiantly produced some ringing singing, but occasionally sounded strained. Smartly, the staging put the excellent chorus front and center in the center of the action, effectively highlighting the role of the community in the proceedings.

THE VERSAILLES ROYAL OPERA ORCHESTRA
Florence Gould Hall at L’Alliance New York

This summer also saw the debut New York performances of the Orchestre de l’Opéra Royal, or the Versailles Royal Opera Orchestra. Given that the occasion was presented by the folks over at Death of Classical, it’s no surprise that these were collaborative and wholly immersive happenings that featured both spirited music-making and highly sensory merry-making loosely inspired by the period. The salon-like performance I attended was conducted by Polish maestro Stefan Plewniak and took place at the Florence Gould Hall at L’Alliance New York on the Upper East Side of Manhattan. Entitled The Last Castrato (RECOMMENDED), the concert focused on historically astute renditions of bel canto compositions by the likes of Giuseppe Nicolini, Paolo Bonfichi, Pierre Rode, Niccolò Antonio Zingarelli, Saverio Mercadante, and of course Gioachino Rossini. Many of the selections featured the contributions of accomplished countertenor Franco Fagioli, who sung with intent and ample character — if not quite supple sweetness one hopes for — as well as rock solid technique. Throughout, Plewniak led the way with vigor, intelligence, and a theatrical flourish that befitted the decadent evening (occasionally, he took took to the role of solo violin, also with abandon). The party that followed the at the elegant Freeman’s | Hindman NY Auction House — accessed with the purchase of premium “The Louis XIV Experience” tickets (fear not, pre-show immersion, including wine by Bouchaine Vineyards, was available to “regular” ticket holders) — was elevated and carefully curated, featuring intimately scaled live music (primarily of the of baroque variety), more excellent libations and food, and even a crafty shadow puppet performance of “The Spinner” courtesy of Foreshadow Puppetry.