In June 2015, I traveled from Michigan to the Spoleto Festival in Charleston, SC, with one mission: to see my favorite mezzo-soprano, Vivica Genaux, in a historic operatic resurrection. The opera was Pier Francesco Cavalli’s Veremonda, l’amazzone di Aragona. Originally composed in 1652, it was only performed twice before disappearing for over three centuries. Through the scholarship and dedication of conductor and musicologist Aaron Carpenè, this forgotten masterpiece was revived after more than 350 years of silence.
The performance took place at the intimate Dock Street Theatre. Seated just six rows from the pit as the New York Baroque Incorporated Chamber Orchestra tuned, I felt the palpable anticipation. The cast was a true “who’s who” of the early-music world: Genaux as the Queen of Aragon, Francesca Lombardi Mazzulli as the Moorish Queen, and Raffaele Pè as the Spanish General. From the opening, the performance exceeded every expectation. My favorite moments were the arias and the ballet interludes.
After the final bows, the magic spilled onto the sidewalk. As the crowd dispersed along Church Street, we made our way towards the side exit on Queen Street, where artists emerged with striking humility and warmth. First, I met Raffaele Pè, as he introduced himself. I joked, “Delio, the lover boy!” earning a shared laugh. Soon Carpenè and Mazzulli joined, engaging freely with lingering audience members.
Finally, I approached Ms. Genaux. She was incredibly gracious as I expressed my admiration and presented four CDs I had prepared for this moment. She was impressed with my knowledge of her works, as she signed them. We posed for photos, and she thanked us for coming to see her perform. The real surprise came a week later, when Ms. Genaux gave us a Facebook shout-out by name. A decade later, that starstruck moment still feels unreal.
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