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Dr Ken Querns-Langley at the Royal Opera House Covent Garden:
Insights on Bellini’s I puritani

I puritani by Vincenzo Bellini

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Livestream: Royal Ballet & Opera programme

Dr. Ken Querns-Langley 

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The evening will be presented by Sophie Redfern, and will unfold across three strands: a cast panel with Lisette Oropesa, Francesco Demuro, and others; a creatives interview with Richard Jones’ team; and musical illustration, sharing highlights from the score led by conductor Riccardo Frizza.

Generously supported by Rolex and The Paul Hamlyn Education Fund

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On Tuesday 9 June 2026, I will be speaking at the Royal Opera House, Covent Garden, as part of the Royal Ballet & Opera Learning & Participation programme, for Insights: I puritani — a pre-production talk exploring Bellini’s bel canto masterpiece.

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  • Time: 7.45–9.00pm

  • Venue: Clore Studio, Royal Opera House (Level 6)

  • Format: pre-production talk with cast and creatives, plus a short seated interview segment with me

Livestream: via the Royal Ballet & Opera programme 

What is 'bel canto' really?

Bel canto is not one thing, and it does not reduce to a slogan. It is a tradition that runs for roughly two centuries — from Monteverdi to early Verdi — and the term is used in three overlapping ways: a historical period, a compositional style, and a technique of singing. Those meanings are often confused.

Bellini’s I puritani (1835) sits near the end of that arc: a late, supremely refined flowering of an older art, written at the moment the ground was about to shift.

A short listening guide for I puritani

If you are new to this repertoire, there are four audible features that will help you listen with more precision:

  • Beauty of tone above all: the sound itself is a primary expressive instrument.

  • Legato: the seamless line — movement between notes with no audible seam.

  • Agility and ornament (fioritura): runs and decoration used expressively, not as display for its own sake.

  • Expressive flexibility: rubato and dynamic shading, including the tradition’s signature gesture, the messa di voce.

 

A useful reframe for the evening is this: in bel canto, emotion is often conveyed through a kind of demonstration — feeling rendered by control of musical means — rather than the direct confessional outpouring later associated with verismo.

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