Poor Edgardo! He has what in other circumstances would be a great scene
with a great aria, but it comes *after* the mad scene - which, if well
done, is *very* hard to follow. In the production I saw in Winnipeg a few
years ago the mad scene was so affecting that everything that followed was
like watching people waiting for a bus. john
At 03:24 AM 1/30/01 -0500, you wrote:
...
>So what I'd really like to know is: how does the part of Edgardo measure up
>to the other tenor leads in my very limited frame of reference, in terms of
>drama, amount of work involved, tessitura, and so on?
...>Nicktenor.
John Blyth
Baritono robusto e lirico
Brandon, Manitoba, Canada
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