![]() At the same time, his writing is intensely vivid there is a painterly touch to his style that always seems to fit the emotions and drama of the piece. Romantic in spirit and thoroughly impressionistic in realization, his gestures can become repetitive. Drawing inspiration from many sources, Fuentes-Berain’s conception at times feels overcrowded, but the story that she tells and the characters that populate it are compelling nonetheless.Ĭatán’s music is not the most daring or individual to find its way to an opera stage. Along the way they are beset by a vicious storm and they arrive at their destination only to find the city in the throes of a cholera epidemic–but love triumphs in the end, after a fashion. Passengers aboard the riverboat El Dorado journey to Manaus in order to see a performance by the soprano Florencia Grimaldi, who is secretly among them, searching for her long-lost love, a butterfly hunter named Cristobal. ![]() The Spanish libretto by Marcela Fuentes-Berain draws heavily on the works of Gabriel García Márquez, creating a (more or less) ordinary scenario and injecting into it supernatural elements. Having already announced an impressively full 2016-17 season, the company is finishing its comeback year with Daniel Catán’s Florencia en el Amazonas, and Wednesday evening’s rewarding premiere was the strongest performance that the reborn NYCO has offered yet. The reconstituted New York City Opera seems bent on silencing any doubters. Elizabeth Caballero in the title role of Daniel Catán’s “Florencia en el Amazonas” at New York City Opera. ![]()
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