As a critic, my time is spent about equally between theater and music. I have many smart friends in both areas, and I’m often pulled into conversations within the former group about what they see as the dramatic limitations of some operas. A negative attitude specifically toward the bel canto school is a particular idée fixe among my theatre people.

There are predictable complaints about the damsel-in-distress stories. But even more, what I hear is that it’s the musical style and structure—something about the frequent use of cavatinas (to demonstrate legato) and cabalettas (to showcase virtuosity)—that pulls my theater friends out of the moment.

As a critic, my time is spent about equally between theater and music. I have many smart friends in both areas, and I’m often pulled into conversations within the former group about what they see as the dramatic limitations of some operas. A negative attitude specifically toward the bel canto school is a particular idée fixe among my theatre people.

I thought about this watching and listening to Rossini’s Otello, the centerpiece of Opera Philadelphia’s Festival O22. It’s a show that I think offers a fascinating blend of pros-and-cons that could provide supporting evidence to both camps…

Click here to read the full post at Parterre Box.