About Barbara Quintiliani
Opera Boston will present staged performances of Donizetti's Lucrezia Borgia with Barbara Quintiliani in the title role on Friday April 28, 2006, at 7:30 p.m, Sunday April 30 at 3 p.m., and Tuesday may 2 at 7:30 p.m. at the Cutler Majestic Theatre in Boston.
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Barbara Quintiliani is scheduled to sing Bach's wedding cantatas BWV 202 and 51 with the Boston Classical Orchestra at Faneuil Hall in Boston on October 13 and 15, 2006.
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". . . Lucrezia demands more than the average
coloratura. She requires power, depth and personality. Barbara Quintiliani
brings all of these qualities to her performance. In the first act she
displays Lucrezia's tenderness and vulnerability as she encounters her son.
In the second act she channels Lucrezia's wrath as she confronts her jealous
husband. In the third act Quintiliani successfully combines these two
qualities, culminating in a spectacular coloratura aria that showcases her
powerful dramatic voice. This performance makes the production a success, in
spite of a lack of support from her lead male counterpart."--from review by
Garen Nigon for
tuftsdaily.com, May 1, 2006, of an Opera Boston performance of
Donizetti's Lucrezia Borgia.
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Barbara Quintiliani, soprano
Craig Terry, piano
Il mio bel foco...Quella mia fiamma
Antonio Vivaldi
“Sposa son disprezzata” from Bajazet
Franz Schubert
Auflösung, D. 807
Frülingsglaube, D. 686
Gretchen am Spinnrade, D. 118
Die Liebe (Klärchens Lied), D. 210
Rastlose Liebe, D. 138
Giuseppe Verdi
Non t’accostare all’urna
La zingara
In solitaria stanza
Brindisi
Lori Laitman
Becoming a Redwood
The Song
Pentecost
Curriculum Vitae
Becoming a Redwood
Richard Strauss
Kling!, Opus 48, no. 3
Einerlei, Opus 69, no. 3
Freundliche Vision, Opus 48, no. 1
Frühlingsfeier, Opus 56, no. 5
ENCORES
"Merce, dillete amiche" (Bolero) from Verdi's Vespri Siciliani
"Ebben? Ne andro lontana" from Catalani's La Wally
"The Year's at the Spring" by Amy Beach
The encores were delightful, the work of a well qualified opera singer. The Verdi and Strauss pieces in the recital also were well served by the soprano's operatic approach. Instead of trying to give such a typical recital program--some arie antiche, some Schubert, and something contemporary, etc.--Ms. Quintiliani might do well to focus more on her strengths. The audience sometimes seemed restless in the first part of the evening. The first two selections were somewhat serious to open a program, and the Schubert perhaps just isn't her forte. She has the voice, ability, and personality to win over an audience with the right material, as she had clearly demonstrated by the end of the evening.
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