Opera Chic has a weakness for Giacomo Meyerbeer's astonishing talent, the variety of his inventions -- oh the film noir coolness of Robert Le Diable, the imperfect shimmering allure of L'Africaine, the unabashed grandeur of Il Crociato in Egitto, the grand Rossinian dreams of Les Huguenots. Happily, Meyerbeer's works are not bashful about being operas -- the former piano prodigy was brave enough to dream big dreams and that's why he has a special place in Opera Chic's heart. The shameful way his reputation has been tarnished and insulted, for all the wrong reasons, mostly by someone who robbed Meyerbeer's blind, make every Meyerbeer revival a much-needed attempt to bring Giacomo back in the limelight his talent so richly deserves.
“Meyerbeer and Mendelssohn were two of the most noble, most gracious
figures of our musical history,” observes Dr. Botstein. “They freely
encouraged the careers of other composers, the young Wagner included,
only to have their posthumous reputations severely damaged by the
Wagnerian version of music history.” One final irony: When Wagner
compiled the first edition of his complete writings, he did not include
the glowing essay he had written on “Les Huguenots.” Now, thanks to
Bard’s celebration of his music, Meyerbeer’s masterpiece is being heard
"In this production, the role of Armando d’Orville, the crusader, written in Venice for the castrato Giovanni Battista Velluti, but ever since its Parisian revival in 1825 (when it was sung by Giuditta Pasta) usually given to a female voice dressed as a man, will be performed by the countertenors Michael Maniaci and Florin Cezar Ouatu."
Patrizia Ciofi will be singing the role of Palmide, and it will be conducted by Emmanuel Villaume.