Somewhere in South America at the home of the country's vice president, a lavish birthday party is being held in honor of Mr. Hosokawa, a powerful Japanese businessman. Roxanne Coss, opera's most revered soprano, has mesmerized the guests with her singing. It is a perfect evening, until a band of terrorists breaks in, taking the entire party hostage.But what begins as a life-threatening scenario slowly evolves into something quite different. Friendship, compassion, and the chance for great love lead the characters to forget the real danger that has been set in motion and cannot be stopped. Ann Patchett has written a novel that is as lyrical and profound as it is unforgettable. Bel Canto is a virtuoso performance by one of our best and most important writers.
Why we think it's Essential: Ann Patchett's prose is, quite simply, miraculous. And Anna Fields' narration, amid all the nationalities and accents and characters, is superb. Together, the two bring to life a tale of such stunning imagery and emotion that you'll be replaying entire chapters just to see it again in your mind. Chris Doheny
2002 Orange Prize for Fiction Book Sense Book of the Year Award Winner, Paperback, 2003 PEN/Faulkner Award Winner, 2002 "Patchett can be counted on to deliver novels rich in imaginative bravado and psychological nuance. This fluid and assured narrative...demonstrates her growing maturity and mastery of form." (Publishers Weekly) "Mixing art and politics can have unexpected results, but rarely are they so poignant....[Anna Fields'] performance is the essence of Bel Canto, easy, pure of tone, with an agile, precise vocal technique." (AudioFile)
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I have a 5-book history with Patchett. Bel Canto is a book that I volleyed in and out of my wish list for years. The premise seemed compelling: terrorists guerillas storm the home of a Latin American vice president while he is entertaining international dignitaries, including the beautiful opera diva Roxanne Coss and Japanese businessman Katsumi Hosokawa. During the following 4 month siege, separated from the world with the heightened sense of the fragility of life, the captives overcome their language barriers through music, i.e. Roxanne's opera, and delicate bonds of humanity bloom in spite of the hostile environment.
Patchett is intent on proving music is the magical universal language, setting out to develop this construct into a novel by casting her stage with a diversity of characters from various origins. In attempting to relate the participants' individual reactions as they are forced to face their mortality, examine their mental constitutions, Patchett takes on a production that is just too grand for the time frame of the book she intends. It soon becomes clear, as you try to understand the suddenly incongruous behaviors of the characters she first presesnted you with, that it's impossible to give the reader the necessary internal dialogues of these people which validates their behaviors; their actions, even under the circumstances, do not follow from the personalities she invited to the party -- the dilemma of the non-sequitor behavior. The plot's integrity may have held together better had Patchett foregone the internal dialogues and psychological digressions, had she allowed the reader to ponder the inner machinations. The relationships could have been believable had I been able to imagine their progression instead of being jerkily forced into bed...the psychological build up is what creates atmosphere, intrigue, and logical involvement.
So, I come again to my ususal criticism--the crux of my on-going struggle with Patchett...if I am being asked to suspend belief (which you must do when everything defies facts, reason and logic), give me great and beautiful flights of fantasy or anarchy--toy with logic, but don't mistake my eagerness to share your wonderful writing with an open ticket to negate intelligence. Creating a story that charmingly coaxes me to the *suspension of belief* is very different from insisting that I accept glaring flaws and deviations. I may be jaded, may have lost my naivete, but I can go with any flow as long as it doesn't tumble over boulders of glaring impracticality. But, you see what you think: 1) all of the men, including the terrorists, are immediately enamored of Roxanne and her operatic talent; 2) the terrorists willingly fly in tubs of $1000 eye cream from France, lemon-scented shampoo from Italy, and crates of sheet music for Roxanne; 3) the terrorists allow the hostages to spread out through the mansion, occupying the bedrooms, dressing from the generous host's closets; 4) the out-numbered hostages secretly conjugate under the noses of the vigilant terrorists, some even meeting in the pantry for sex; 5) a young guerilla (whom speaks only his native language) spontaneously bursts into perfect opera, going on to conquer German, French, and Italian operas in weeks under the tutelage of Roxanne (who knows none of his language); 6) the captors come to enjoy their captivity as well as their captors - cooking meals together, playing chess - soccer on the grounds..."Hostages vs. Terrorists"; 7) the vice president, whose home has been overtaken, decides to adopt a young terrorist when the siege ends.......I've belabored the point. It began to warp into a bizarre summer camp for the international, multi-lingual elite.
I can't deny the beauty contained in the pages, the charm, the graceful flow of prose; I've always found Patchett's writing to be melodic, even at times ethereal, I understand her following. The scenes in this novel evoked beautiful stage settings; a world suspended in a snow globe, caught in graceful slow motion with the chaos of the outside world spinning around the center scene. There is a sense of romantic melancholy, the opera-like impending doom, barely camouflaged by all of the lovely farce. The narrator does an excellent job, and has a mellifluous voice that had me believing she herself could launch a successful music career. I enjoyed her presentation very much, and think she could be a part of any book choice I make in the future.
After 5 Patchett novels, I have to realize that no matter how intriguing Patchett's premises may seem to me, we are not a copacetic match. (The tree-gnawing hallucinatory pregnant elderly natives from State of Wonder still boggle my mind.) She may make beautiful music, but I can't get beyond the scratches and jumps to hear the song. [*Thank you for your time reading my opinion.]
I've listened to dozens of audio books and this is the best one ever! The characters, very richly drawn right from the beginning, grow and change in surprising ways. The narration, complete with accents, was done beautifully. It never distacts and serves only to enhance the authors words. Even though the author wants you to know the inevitable outcome long before it happens, you will wait breathlessly to see how she writes about it. The author is masterful in her descriptions of everything from the state of mind of a female terrorist to the imprint left in the grass by 2 lovers.