I assisted at a wonderful performance of Benvenuto Cellini in Amsterdam. Personally I was attracted by the direction of Terry Gilliam and John Osborne as Cellini. The sets, the costumes, the choreography and the acting are an exuberant whirl of ideas, energetic and humorous, a wink to Monty Python and expressionism, The Cabinet of Dr. Caligari in black and white, with dooming video projections in the background. It is mainly thanks to Gilliam’s direction that this opera, considered difficult, is able to enthuse, as it did with the Amsterdam audience.
The singers were in superb shape, starting from Teresa, Benvenuto and Fieramosca. I have a predilection for John Osborn in almost everything he sings, the delicate lyrical pages, the heroic energy and the range. Mariangela Sicilia was a delightful surprise, she delivers a charming Teresa with a nice timbre and a beautiful voice. Naouri and all the rest of the cast are well chosen and deliver outstanding (or almost) performances. The thing I liked less was the direction of Mark Elder who, I found, directed on the slow side without the bite that the score requires. The chorus and the orchestra sang and played very well.
Conductor-Sir Mark Elder, direction-Terry Gilliam, choreography-Leah Hausman, decor-Terry Gilliam and Aaron Marsden, costumes-Katrina Lindsay, lighting-Paule Constable, Video-Finn Ross, Benvenuto Cellini-John Osborn, Giacomo Balducci-Maurizio Muraro, Fieramosca-Laurent Naouri, Le Pape Clement VII-Orlin Anastassov, Francesco-Nicky Spence, Bernardino-Scott Conner, Pompeo-André Morsch, Le Cabaretier-Marcel Beekman, Teresa-Mariangela Sicilia, Ascanio-Michèle Losier