I try to find audiences for works that don’t have them, to explore operas that were important or valuable but hadn’t been heard recently, if at all. At the same time I wanted to create a hook that would bring people in.” Thus the “thematic” choice of repertory.

[...]

The thing about cuts—you can always tell who’s at the top of the organizational triangle—is it the composer? The director? The artistic director? Someone has to give me a reason for the cut, whether it’s vocally taxing or there’s an awkward scene change—there has to be some reason to cut. But the standard has become the opposite: ‘What’s the reason to keep this music in? It’s normally cut, isn’t it?’ And I’m: Ye-es, but I’m not about to second-guess Mozart or Verdi on what works in the theater. If they wanted it performed, they had their reasons

If they’ve become used to the same menu over and over again, you can’t blame them for wanting the same menu over and over—you’ve self-selected the people who will want that. It’s a bad cycle; it’s a downward-spinning cycle.

Aclarado: El aria es "Anch'io provai le tenere smanie" (que consta grabada por Flórez en uno de sus CD para DECCA), pero con la orquestación original de Donizetti. En la nueva edición crítica constan ambas arias, la citada y "T'amo qual s'ama un angelo". Si Anduaga cantara ambas, sería un festín.

https://www.ricordi.com/en-US/News/2019 ... orgia.aspx

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