From the New York Times review of the Dallas Opera's performance of
Orlando furioso and the international symposium on Baroque opera:".
. . it was a serious, thoughtful, consistent and imaginative
realization of a beautiful, long-neglected work, one that fully
deserved all the loving attention it received. As such, the
production and its attendant symposium made a positive contribution
to the cause of Baroque opera . . . . "Baroque opera experienced a
revival in the late twentieth century. Its popularity, however, has
given rise to a number of perplexing and exciting questions
regarding literary sources, librettos, theater design, set design,
stage movement, and costumes-even the editing of the operas. In
1980, the Dallas Opera produced the American premier of Vivaldi's
Orlando furioso, which met with much acclaim. Concurrently an
international symposium on the subject of Baroque opera was held at
Southern Methodist University. Authorities from around the world
met to discuss the operatic works of Vivaldi, Handel, and other
Baroque composers as well as the characteristics of the genre.
Michael Collins and Elise Kirk, deputy chair and chair of the
symposium, edited the papers to produce this groundbreaking study,
which will be of great interest to music scholars and opera lovers
throughout the world. Contributors to Opera and Vivaldi include
Shirley Wynne, John Walter Hill, Andrew Porter, Eleanor
Selfridge-Field, Howard Mayer Brown, William Holmes, Ellen Rosand,
and the editors.
General
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