Our recent production of Semele has aroused a lot of discussion about the Florentine Opera’s past, present, and future, both privately amongst patrons, but also in the press.
First, let me say that I am thrilled with the response that Semele received. I do, however, think there is a danger in seeing it as an isolated event, and outside the “mainstream” of the Florentine’s aesthetic. If one takes a look at some of our recent productions, you will see that Semele is a natural progression in the evolution of our company, In addition, I firmly believe that “you can’t know where you’re going if you don’t know where you’ve been”. I say this to underscore the fact all of us as opera lovers need to be stretched and challenged, but I also have the utmost respect for those fans of the art form who revel in the pure aesthetic pleasure of hearing great singers in great roles in great operas. I believe we can address (and have been addressng) both ends of the specturm, if I can be allowed to say it like that.
To my earlier point about Semele being part of an evolution, I would mention our recent productions of Fidelio, Don Giovanni, Macbeth, and our upcoming Magic Flute. These were (and are) imaginative productions designed specifically for the Florentine that stretched the way we all see these traditional pieces. In addition, other companies are renting these productions, which reinforces our belief in them.
Alongside these innovations, we have presented more traditional stagings of The Barber of Seville, Madama Butterfly, Salome, The Daughter of the Regiment, and Aida – all with wonderful casts and production teams. I have been gratified by the large number of patrons who love a big, glamorous Aida, but were nonetheless moved and challenged by our stagings of Semele, Don Giovanni, and Macbeth.
I hope to always combine following our artistic instincts with listening to our audiences and what they think – after all, without them, we would have no reason to do what we do.
The famous Catalog Aria in the Florentine's all new production of Don Giovanni in 2006. The production has since been rented to several other American opera companies and the production designs of Kris Stone were displayed at a Lincoln Center retrospective of Women Designers.
Fresh from a critically lauded stint at New York's Metropolitan Opera, internationally acclaimed soprano Erika Sunnegardh makes her role debut as Salome in the Florentine's 2008 production, which offered a more traditional presentation of Strauss' work.
