The first fruits of this partnership can be seen on the stage of Islington's Kings Head Theatre next week: a new production of Claudio Monteverdi's 17th-century opera The Coronation of Poppea – one of the first operas ever written – that has been translated into English by Ravenhill and contains a new aria by Nyman.
However, he was impressed by the newcomer Mario (Cavaliere Giovanni Matteo di Candia), and wrote for him a new aria for Robert which was performed at his debut in the revival of the opera on 30 November 1838.
Nyman's obsession with this single blissful duet – Spotify it if you don't have a copy of Poppea to hand, it is the most utterly transporting piece of music, and declaration of love, you will ever hear – led to the invitation, by Ravenhill, for Nyman to write a new "intervention" aria that would precede it.
The new aria is written for Ottavia who, here, comes back, spirit-like, to warn Poppea of what's ahead.
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While Ms. Malfitano explores the ways in which her new aria changes the nuances of the rest of her music, the view from the pit is a little different.
Ravenhill went back to Tacitus for his new aria, the very text that Venetian librettist Busonello – then billed higher than Monteverdi – would have consulted when he wrote his libretto.
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In 1739, faced with a rival Italian opera outfit opening up across town, he laid aside a season of oratorio and stitched together a pastoral pasticcio using existing material, a sprinkling of new arias and even the work of another composer.
He's singing Led Zeppelin's "Kashmir," and it's unlike any version of the song you've heard before, because Arias and Twist place it in a new context: Arias has been abducted by aliens, who admire his bustier-clad, high-heeled form.
The beloved Kansan mezzo is touring with a new Baroque-aria program called "Drama Queens," which she recorded for the Virgin Classics label and is bringing to Carnegie Hall on Nov. 18.
