Madison Smartt Bell
Bel Canto has all the qualities one has come to expect from a classic Ann Patchett novel: grace, beauty, elegance, and magic.
Publishers Weekly - Publisher's Weekly
As her readers now eagerly anticipate, Patchett (The Magician's Assistant) can be counted on to deliver novels rich in imaginative bravado and psychological nuance. This fluid and assured narrative, inspired by a real incident, demonstrates her growing maturity and mastery of form as she artfully integrates a musical theme within a dramatic story. Celebrated American soprano Roxane Coss has just finished a recital in the home of the vice-president of a poor South American country when terrorists burst in, intent on taking the country's president hostage. The president, however, has not attended the concert, which is a birthday tribute in honor of a Japanese business tycoon and opera aficionado. Determined to fulfill their demands, the rough, desperate guerrillas settle in for a long siege. The hostages, winnowed of all women except Roxane, whose voice beguiles her captors, are from many countries; their only common language is a love of opera. As the days drag on, their initial anguish and fear give way to a kind of complex domesticity, as intricately involved as the melodies Roxane sings during their captivity. While at first Patchett's tone seems oddly flippant and detached, it soon becomes apparent that this light note is an introduction to her main theme, which is each character's cathartic experience. The drawn-out hostage situation comes to seem normal, even halcyon, until the inevitable rescue attempt occurs, with astonishing consequences. Patchett proves equal to her themes; the characters' relationships mirror the passion and pain of grand opera, and readers are swept up in a crescendo of emotional fervor. Copyright 2001 Cahners Business Information.
Library Journal
Lucky Mr. Hosokawa. The well-connected Japanese businessman, now in an unnamed South American country on yet another job, is having a very special birthday party. At the home of the country's vice president, opera singer Roxane Cos will be performing for him and his guests. But what's this? Armed men invading the premises? These ragtag revolutionaries are looking for the president and disappointed that he is not there, but that doesn't stop them from holding the party goers hostage. What happens after that was, for this reviewer, a story that failed to ignite. Patchett (The Patron Saint of Liars) generates little tension as she moves her players around the board, and one is disappointed that there is little reflection about the head-on clash of art and life. Barbara Hoffert, "Library Journal" Copyright 2001 Cahners Business Information.
Kirkus Reviews
Combining an unerring instinct for telling detail with the broader brushstrokes you need to tackle issues of culture and politics, Patchett (The Magician's Assistant, 1997, etc.) creates a remarkably compelling chronicle of a multinational group of the rich and powerful held hostage for months. An unnamed impoverished South American country hopes to woo business from a rich Japanese industrialist, Mr. Hosokawa, by hosting a birthday party at which his favorite opera singer, Roxane Coss, entertains. Because the president refuses to miss his soap opera, the vice-president hosts the party. An invading band of terrorists, who planned to kidnap the president, find themselves instead with dozens of hostages on their hands. They free the less important men and all the women except Roxane. As the remaining hostages and their captors settle in, Gen, Mr. Hosokawa's multilingual translator, becomes the group's communication link, Roxane and her music its unifying heart. Patchett weaves individual histories of the hostages and the not-so-terrifying terrorists within a tapestry of their present life together. The most minor character breathes with life. Each page is dense with incident, the smallest details magnified by the drama of the situation and by the intensity confinement always creates. The outside world recedes as time seems to stop; the boundaries between captive and captor blur. In pellucid prose, Patchett grapples with issues of complexity and moral ambiguity that arise as confinement becomes not only a way of life but also for some, both hostage and hostage-taker, a life preferable to their previous existence. Readers may intellectually reject the author's willingness to embrace theterrorists' humanity, but only the hardest heart will not succumb. Conventional romantic love also flowers, between Gen and Carmen, a beguilingly innocent terrorist, between Mr. Hosokawa and Roxane. Even more compelling are the protective, almost familial affections that arise, the small acts of kindness in what is, inevitably, a tragedy. Brilliant.
