“Prima la musica” (“The music comes first”) once said opera composer Antonio Salieri (at least in the title to one of his operas). Perhaps as a consequence, opera has provided, once the words are dispensed with, other composers with marvelous opportunities for transcriptions and adaptions.
As part of the new Italia Mia festival and in a joint production of the Italian Cultural Institute and Opera Hong Kong, soprano Wang Bing Bing headlined an instrumental vocal and lyrical recital entitled “Passion of Italy”.
Gioachino Rossini could hardly have asked for a better commemoration—this year marks the 150th anniversary of the composer’s death—than this celebratory performance of his lesser-known comic one-act opera Il Signor Bruschino brought to the Macao International Music Festival by the Opéra de Chambre de Genève.
Opera Hong Kong’s recent run of Gioacchino Rossini’s Il Barbiere di Siviglia was notable for an unusual production which frothily updated the action with a 1930s classical movie musical vibe—complete with the “Hollywood” sign as backdrop and dance routines in various period costumes—and perhaps more significantly for the Asian debut of young American mezzo-soprano Stephanie Lauricella, who took the lead role of the ingenue Rosina.