Vaccaj’s Giulietta e Romeo in Martina Franca

Nicola Vaccaj is now mainly famous for his didactic singing method for opera singers but in his time he was an accomplished composer albeit in the shadow of Rossini. His Giulietta e Romeo  (1825) was very well received and often performed until Bellini wrote his own version in 1830. And even then, Maria Malibran, when singing Bellini’s opera, chose to sing Vaccaj’s finale instead of the original one, a practice frequently copied. Personally I find the music extremely pleasing with some excellent pieces such as the love duet in act I, the father’s touching aria in act II, the whole finale just to mention a few.

The delicate Giulietta was extraordinarily interpreted by Leonor Bonilla. Her beautiful voice rose to the top, ethereal notes very easily. Raffaella Lupinacci as Romeo perfectly rendered the energy of young Romeo. Vocally she did an excellent job in the chiselling of colours but her voice is not strong enough in the low notes and at times she was not very audible. Christian Senn’s Lorenzo was also very good with an equal register everywhere and a very good pronunciation. Leonardo Cortellazzi was an excellent Capellio, good pronunciation, vivid top register, beautiful timbre and fine impersonation of the compelling character the librettist Felice Romani makes of the father. I was less impressed by Vasa Stajkic’s Tebaldo who’s interpretation was a bit monochrome. The excellent Paoletta Marrocu could only make a stage-wise impressive and vocally expressive loving mother. 

The slightly gothic staging was simple but effective. A lateral transversal wall with medieval touches (representing first the Capulets’ palace with the balcony, and then the walls of the cemetery), a tomb and impressive lighting was enough to put us straight into the plot. The movement of the masses was excellent and also the single characters were admirably guided and thanks to Cecilia Ligorio’s direction the show had basically no drops in tension. In my opinion the only disagreeableness came from the conductor. He got loads of applause but in my personal view he directed too much on the slow side, so much as to sometimes lose the arch of the musical line. Directing in an open space he also did not balance the volume enough and some of the beautiful accompaniment got lost in the…open air.

Direttore-Sesto Quatrini, Regis-Cecilia Ligorio, Scène-Alessia Colosso, Costumi-Giuseppe Palella, Luci/Luciano Novello, Capellio-Leonardo Cortellazzi, Giulietta-Leonor Bonilla, Romeo-Raffaella Lupinacci, Adele-Paoletta Marrocu, Tebaldo-Vasa Stajkic, Lorenzo-Christian Senn, pictures from backtrack.com by Fabrizio Sansoni and Paolo Conserva, and provincia.mc.it, 31/07/18

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Bozar programme 18/19

I always wondered, in Belgium’s cultural life, what Belgians were most interested in. And as listener to concertgoers’ comments and to various concerts, I’m coming to the conclusion that not the music is the most important thing but the artist. Looking at the previous years’ Bozar printed programs, it almost bothered me how the orchestra or the main artist not only had the biggest font, but were in bold AND underlined. The performers were just below, the font slightly smaller but still in bold, and listed one by one, each performer deserved a single line of course. The composers came afterwards, not bold anymore, and the  actual composition came in an even (slightlty) smaller font. Funnily enough sometimes even not listed separately, as if to save space. But hey, who was I to complain, all the info was there.Since nobody really seems to care what is actually played, Bozar this year decided to go a step further with the 2018/19 printed program of Bozar. The first pages are dedicated to the highlights – orchestras, artists etc. For a handful of them we see the full program of the evening. Next we 

have a calendar that spans over the whole season with a day by day listing and brief descritpion of orchestra and the composer. And that’s it! Nowhere are we told the actual composition. The somewhat startled lady behind the ticket counter advised me to look into the subscription folder, as almost everything is there. Of course it isn’t. Belgian surrealism got a small revival.

An excellent Clemenza di Tito in Gent

Many were the beautiful things in this Clemenza di Tito given in Gent. What struck me most was the beautiful ending of act one with the changes of moods and tempi. That’s Mozarts merit of course, but the opera was well conducted, sung and directed. Michael Hampe’s setting is traditional, with classical structures mixed with 18th/19th century costumes. The movements on stage are very well directed, which is quite difficult for such an opera with a classical aria/recitativo structure and the chorus added drama during the key moments. Montanari conducts well what is more lyrical and shows sensitivity for the slower parts, but some pieces such as the ouverture or the March are too fast for my liking and are at the expense of details.

The Sesto of Anna Goryachova is wonderful, her range equal in all registers, her coloratura exact and she is fully immersed in the character. Her  recitativo accompagnato that opens the finale of act one (O dei che smania è questa) is very dramatic and shows her also an excellent actress, but the highlight for me was the aria Deh, per questo istante solo (Sesto’s confrontation with the emperor) where acting, singing and directing were just excellent. Lothar Odinius as Tito has a strong voice and sings delicately but it is not light enough to sing the runs accurately and he sinks in intonation in more than one occasion. Vitella is Agneta Eichenholz, her upper and lower register are not fully convincing and sometimes she pushes the notes from below but she sings acceptably well, her notes being satisfactorily steady to pass unharmed the trio (Vengo! Aspettate!) and the final aria. Cecilia Molinari is an impeccable Annio with an excellent phrasing. Very good also the Servilia of Anat Edri. This wonderful production was completed by the Publio of Markus Suihkonen and the chorus of the Flemish Opera.

Dirigent-Stefano Montanari, Regie- Michael Hampe, Décor- Germán Droghetti, Kostuums-Germán Droghetti, Belichting-Hans Toelstede, , Tito-Lothar Odinius, Vitellia Agneta Eichenholz, Sesto-Anna Goryachova, Annio-Cecilia Molinari, Servilia Anat Edri, Publio-Markus Suihkonen, 11/5/15, pics from https://operaballet.be

Mariotti & Co in Liege: Rossini’s La donna del lago and Stabat Mater

It was a pleasure to to see this production a second time, if only to see how well Michieletto can tell a touching story and only minimally interfere with the libretto. In this Donna del lago he tells the story with the eyes of old Elena and her secret love to the king. Elena and Malcolm have aged and they witness their own plot, discovering secrets they most likely didn’t tell each other. There were some very touching moments and I loved to see the show in the intimacy of the theatre rather than the huge space of the Adriatic Arena. Mariotti loves the score I feel. The rubati, the small plays with tempi and dynamics bring the score to life and it’s such a joy to hear him direct. The orchestra is far from impeccable but I never heard it play so well (bravo the clarinet). Rodvnanovsky had parts of his voice that sometimes sounded «unclean» (a cold?) but he masters his difficult role with relative ease. It’s more technical mastery, as where Pizzolato, although she lost some of the creaminess of her voice, has not only still impeccable coloratura but plays wonderfully with the colours, and her clear pronunciation makes poor Malcolm become a true romantic lover. Salome Jicia is less convincing than in Pesaro, she attacks her high notes a bit harshly at times, her pronunciation could also be improved but she makes a fine Elena nonetheless with a powerful coloratura and a beautiful closing aria. The small house of Liège is advantageous to Mironov’s voice, not large, but beautiful, light and flexible, sings excellently and in understandable Italian, his second act aria (whose melodic line I always found somewhat strange). Very well also Simón Orfila as Douglas. Barbaric the choir.

A couple of days later, with the same singers (Pizzolato, Jicia, Romanovsky, Orfila), Mariotti directed the Stabat Mater. I was not convinced. They all sounded a bit tired I thought. I much enjoyed Orfila, and next to him Pizzolato was the most balanced although with a fatigued upper register. Romanovsky was covered by the orchestra during much of his Cujus animam, but then shouted his cadenza. Salome Jicia did not convince in the upper register. I don’t know what it is, maybe all these roles are too high for her. I much enjoy her lower and middle register, but the runs in premuniri of the Morte Christi premuniri were very unrefined und with little legato. Mariotti pursues his play with dynamics and tempi, but rather unconvincigly this time, in slow movements he slows down even more, in loud parts he is exceedingly loud. A bit disappointing.

Direction Musicale-Michele Mariotti, Mise En Scène-Damiano Michieletto, Décors-Paolo Fantin, Costumes-Klaus Bruns, Lumières-Alessandro Carletti, Chef Des Chœurs-Pierre Iodice, , Elena-Salome Jicia, Malcolm-Marianna Pizzolato, Giacomo V-Maxim Mironov, Rodrigo-Sergey Romanovsky, Douglas-Simón Orfila, Serano & Bertram-Stefan Cifolelli, Albina-Julie Bailly, Elena Âgée-Giusi Merli, Malcolm Âgé-Alessandro Baldinotti, 8/05/12 and 12/05/18. Pic from Mr Mariotti’s facebook.

Lucio Silla @ Brussels

Mozart was 16 when he composed Lucio Silla but it remained the last opera he wrote for Italy for after the opera premiered during the Carneval season of 1773, the Regio Ducal Teatro (for whom Mozart wrote Mitridate and Ascanio in Alba) did not commission any more operas to Mozart. The opera has no easy or proper plot, which is not uncommon in operas of that period. Although the librettist Giovanni de Gamerra went on to play a small role in the development of what was to become romantic opera, the characters in Lucio Silla are very static. Mozart composed a varied palette of music, some conventional pieces, others remarkably deep, using some new and elaborate forms, a considerable amout of recitativi accompagnati-a more dramatic form than the recitativo secco-and expanding the orchestra with trumpets, giving the orchestra more elaborate writings then relegate it to a standard accompaniment. Recitivi were written when still in Salzburg while the arias were composed tailormaid to the strengths of the singers. They all turned up in Milan between end of November and beginning of December 1772. The first Cecilio was the famous castrato Venanzio Rauzzini, while the first Giunia was Anna de Amicis, equally famous. De Amicis “was very satisfied with the arias, and Mozart introduced in them passages which are very unusual, unique and extremely difficult and which she sings amazingly well…” father Mozart reported, who was in Milan with his son. Giunia and Cecilio each sing in 7 pieces. And Mozart gives them a wonderful duet to close Act I. Lucio Silla himself sings only in 3 pieces, which is either due to his text written to be conveyed dramatically by the recitativo or by the fact that the originally intended star had to be replaced last minute with a lesser known singer, or both. The new tenor arrived December 17th and the next day Mozart had composed the two arias for him. Cinna has also only 3 arias but has the privilege to sing the first, while Celia’s role lightens the atmosphere, seen that she is not included in the political plot. The full orchestra rehearsals were done the 18, 20 and 22 December, the dress rehearsal the 23rd and the opera was performed the 26th and run for 26 performance, a considerable amount. Mozart was pleased with both Anna de Amicis and Venanzio Rauzzini, and for the latter, around the 15th January, he composed the famous motet Exultate, jubilate.

The director sets the story in modern days and when the curtain rises, one sees a modern house (which later revolves) and tress around it, very much like in Pizzi’s Pietra del paragone, but less stylish. But the plot is quite thin, the da capo arias very long and Tobias Kratzer really only asks for very conventional movements (except for much cutting of veins and a dog running around) and the little action on stage starts boring very soon. The orchestra played the ouverture swiftly and nervously (maybe a bit too nervously?) but Manacorda directed and accompanied very well. I thought Jeremy Ovenden was just acceptable. His lower register weak, his interpretation extremely thin. Much better Lenneke Ruiten. Her role has extreme demands and she manages well with a beautiful and bright top register. In one of the most difficult arias ever written Ah se il crudel periglio she convinces much less (drops a note every now and then to breath). Anna Bonitatinus gave a lovely recital of Rossini songs a couple of weeks back. A forgotten repertoire that she rendered beautifully. But her Cecilio was not as convincing. Her tight vibrato is a bit unpleasant and it seems to me Cecilio is a size too big for her. Her 2nd entrance aria was sung with much transport and fury and was a joy to hear, as was her last aria, but there are constant struggles with pitch. Marvellous Simona Saturova as Celia. She sings  her four arias wonderfully and with great taste. I had big hopes for the opening aria but i had to wait for Ilse Eerens to sing her other two arias which allows her to show her bravura. I like her beatiful timbre and clear top notes. Good also Carlo Allemano but untidy roulades.

Conductor-Antonello Manacorda, Director-Tobias Kratzer, Set And Costume Design-Rainer Sellmaier, Lighting-Reinhard Traub, Video–Manuel Braun, Dramaturgy-Krystian Lada, Lucio Silla-Jeremy Ovenden, Giunia-Lenneke Ruiten, Cecilio-Anna Bonitatibus, Celia-Simona Šaturová, Cinna-Ilse Eerens, Aufidio-Carlo Allemano. 7/11/17, pictures by  www.demunt.be

Norma @ Liège

An pleasing enough Norma was given at Liege this week. I did not like everything of Davide Garattini-Raimondi’s direction. It had the merit of being on 3 levels which allowed to play with movements of the single versus the masses, but I found the paper mache-looking setting a bit unrefined, although I guess deliberate. Personally I did not see the necessity of the overly made-up faces and neither of the dancers who hopped also in the most inappropriate scenes. To me it looked a bit silly.

It was clear even before hearing her, that Patrizia Ciofi would be too light for Norma, “In mia mano alfin tu sei” for eg and all the lower passages was musically not very pleasing and at the end of the several evenings the voice sounded very tired. Having said that I found much dedication to the role, wonderfully floating acuti and a profound rendering. With her on stage was José Marina Lo Monaco who sang a beautiful and compassionate Adalgisa, and the two voices merged wonderfully in the duet of Act II. As Pollione we had Gregory Kunde who the role seemed to fit like a glove and the notes came out in apparent effortlessness from the lowest to highest, always a pleasure to hear. Andrea Concetti was a noble Oroveso, his second aria convinced more than the first. All were accompanied by the very capable hands of Massimo Zanetti; He kept the music going swiftly although the orchestra’s playing was not always neat and clean.

Conductor-Massimo Zanetti, Director-Davide Garattini Raimondi, Choreography & Director’s Assistant -Barbara Palumbo, Set And Lighting Design-Paolo Vitale, Costume Design-Giada Masi, Choirmaster-Pierre Iodice, Norma-Patrizia Ciofi, Pollione-Gregory Kunde, Adalgisa-Josè Maria Lo Monaco, Oroveso-Andrea Concetti *, Flavio-Zeno Popescu, Clotilde-Réjane Soldano, 25/10/17, Fotos: http://www.operaliege.be

Pia de Tolomei & Fra Diavolo – Pisa & Rome

Verdi-centered fans told me they heard so much Verdi in Donizetti’s Pia di Tolomei, but Pia was composed 3 years before Verdi even started composing operas. Nonetheless it contains some beautiful music and in the recent past Pia de Tolomei got already some attention: staged several times at the end of the 60’s, beginning of the 70’s, under the vibrant direction of Rigacci (with a wonderfully sympathetic Lella Cuberli), in 2005 la Fenice presented it with Patrizia Ciofi, the Opera Rara label recorded it, and now in Pisa it sees the light again. It was however a Pia de Tolomei without Pia. The main singer started badly with an entrance aria that revealed vocal problems as soon as the voice had to rise even a slight bit. No legato, wobbly line, and one awfully squeaked top note did the rest. Not to talk about the interpretation, which was totally absent in the desperate but unsuccessful attempt to get at least the notes right. The rest of the cast was quite enjoyable. Marina Comparato knows how to sing, one could enjoy the beautiful lower register, in the cavatine more than in the cabaletta. Her contribution to the beautiful duet with Pia was touching. The tenor was a lovely surprise: Giulio Pelligra in the role of Ghino mastered the difficult leaps with apparent ease and Valdis Jansons as Nello was especially moving in Lei perduta in core ascondo, where he utters his hate for Pia…but still loves her. The music is flowing brightly under the baton of Christopher Franklin while the setting and lights are lovely. Questionable some of the stage directions by Andrea Cigni.

A charming Fra Diavolo was given in Rome. The points of interest were for me John Osborne as Fra Diavolo and Barberio-Corsetti’s stage settings. The latter’s love for video projections are known, and he mixes them masterfully with the scenery which resulted in a sparkly and light interpretation. Musically the opera is very French with couplets and songs typical for French light opera. When Fra Diavolo was translated into Italian for the Italian stages, Auber composed new arias for the main characters in a more Italian style in order to show off their vocal qualities and it was in the Italian translation that the opera was most successful.  The cast reunited for the Roman staging was very satisfying, and quite enjoyable were the crystal clear voiced Anna Maria Sarra, the funny Sonia Ganassi as Lady Pamela, Giorgio Misseri was a touching Lorenzo and John Osborne as Fra Diavolo. Rory MacDonald conducted swiftly although I found he sometimes covered the voices.

Pia de Tolomei: Pia-Francesca Tiburzi, Ghino degli Armieri-Giulio Pelligra, Nello della Pietra-Valdis Jansons, Rodrigo-Marina Comparato, Piero, eremita-Andrea Comelli, Ubaldo, servitore di Nello-Christian Collia, Bice-Silvia Regazzo, Lamberto-Claudio Mannino, Custode-Nicola Vocaturo, direttore-Christopher Franklin, regia-Andrea Cigni, scene-Dario Gessati, costumi-Tommaso Lagattolla, luci-Fiammetta Baldiserri, 14/10/17, foto: http://www.teatrodelgiglio.it. Fra Diavolo: Direttore-Rory MacDonald, Regia-Giorgio Barberio Corsetti, Scene-Giorgio Barberio Corsetti e Massimo Troncanetti, Costumi-Francesco Esposito, Video-Igor Renzetti, Alessandra Solimene, Lorenzo Bruno, Coreografia-Roberto Zappalà, Luci-Marco Giusti, Fra Diavolo-John Osborn, Lord Rocburg-Roberto De Candia, Lady Pamela-Sonia Ganassi, Lorenzo-Giorgio Misseri, Matteo-Alessio Verna, ZerlinaAnna Maria Sarra, Giacomo-Jean Luc Ballestra, Beppo-Nicola Pamio, 15/10/17, foto: http://www.operaroma.it/

 

Tancredi @ Brussels

It’s always a pleasure to hear Rossini’s Tancredi, the effort Rossini put into the composition is evident, especially in the women’s arias and duets. For the premiere at the Teatro la Fenice in Venice in 1813 he had two leading ladies: Adelaide Malanotte as Tancredi and Elisabetta Manfredini as Amenaide, the latter sang in Ciro in Babilonia a year earlier and Rossini would also compose the soprano part for her in Sigismondo and Adelaide di Borgogna. The team put together for the two evenings in Brussels, one with the happy ending written for Venice and one with the Ferrara ending (where Tancredi dies at the end) is somewhat heterogeneous. Giuliano Carella was the conductor and he conducted as usual, with vitality and verve. At times the precision of the singers’ coloratura suffered from tempi that were too speedy. But overall there were no drops in tension. The orchestra was not disastrous but not far from it either: I felt that as simple as the accompaniment can be in Italian opera, the more difficult it is to sound appropriate. In this respect the orchestra sounded quite mechanical, no nuance, no subtlety had to be expected, and in vain were Carellas gestures to play more piano. What lacked in Marie-Nicole Lemieux was the coloratura, quite unsatisfactory, but there is not too much of it in Tancredi and what one can appreciate is the beautiful chest register which Lemieux uses unsparingly. Evident is the big personality but the interpretation is questionable and the important final aria before the happy ending does not fully convince. I much enjoyed Salome Jicia as Amenaide although this part requires a higher soprano (as all parts do written for the Manfredini) and the picchettati in the beautiful aria in act 2 put her under strain in terms of precision and intonation as well as the cabaletta of her entrance aria but this was in part due to Carella’s tempi. Very well Enea Scala. Although no ringing voice, there was a beautiful research in colours and easy coloratura paired with an impeccable pronunciation. Nonetheless I’d much prefer him not to choose for the higher top notes’ option as they have the tendency to sound a bit harsh. Excellent Blandine Staskiewicz in the small role of Roggiero, I thought her aria in act 2 was impeccable. A bit subdued Lena Belkina as Isaura. Very unrefined was Ugo Guagliardo’s singing as Orbazzano.

Director-Giuliano Carella, choir leader-Martino Faggiani, Argirio-Enea Scala, Amenaide-Salome Jicia, Tancredi-Marie-Nicole Lemieux, Orbazzano-Ugo Guagliardo, Isaura-        Lena Belkina, Roggiero-Blandine Staskiewicz, De Munt/La Monnaie Orchestra and Chorus, 11/10/17, http://www.urfm.braidense.it/rd/04966.pdf

Rossini Opera Festival 2017

The only person who really impressed me this year at the Viaggio a Reims was Roberto Lorenzi with a true bass voice and a fluid coloratura. Others were also enjoyable such as Oscar Oré as Belfiore or Noluvuyiso Mpofu as Cortese. Corinna and Folleville lacked substance and were a bit thin. Good all others. The conductor Michele Spotti was hugely applauded but I found his direction a bit flat, colours missing and not much variation. The mise en scene was the very effective one by Emilio Sagi and as always this Viaggio by the students of the Rossini Academy is a pleasure to watch, almost touching in the enthusiasm the young singers put into their singing and acting.

Torvaldo e Dorliska was this year’s most balanced opera I thought. Both the visual and musical side were satisfactory. The stage is nicely designed by Mario Martone, a forest behind a iron gate impress with the versatility it offers to move around it, and the delightful costumes by Ursula Patzak put us into the narrative immediately. Very well the young director Francesco Lanzillotta. He plays with colours, dynamics, and tempi to give the music the lightheartedness and tension it deserves. Salome Jicia, seemingly the Semiramide of the 2019 ROF, started on a wobbly foot with her first aria but her performance grew over time into a well performed Dorliska, though I felt her lower and middle register were not as strong as I remember them in Elena in last year’s Donna del lago. Very well Dmitry Korchak as her lover with a bright ringing voice he also had no difficulty to find his way through the rapid vocalisms, and the top notes were poured out with ease. Of Carlo Lepore I especially liked both the comic and tragic characterization of the character. Nicola Alaimo has not a huge voice but sings with great taste. Great fun was Filippo Fontana in his small aria Sopra quell’albero vedo un bel pero while I thought Raffaella Lupinacci was marvellous in the small role of Carlotta, her aria very well sung. Since i could not see the subtitles from where I was sitting, I especially appreciated how everybody put extra effort in the pronunciation as the plot was easily followed even without subtitles.

Le siège de Corinthe was a huge disappointment. The direction was given to La Fura dels Baus, who have created many memorable productions, but this opera did not tickle they inspiration at all I feel. They de-contextualized the plot, and the struggle for independence of the Greek from the Ottomans is interpreted by La Fura with the struggle for water. Although I get their point and can imagine the parallel somewhere, the show did not convince me in the least for the absence of a real storytelling, and boredom came up pretty soon. Furthermore 20L-water-bottles strung together into walls was visually not very pleasing. The costumes looked like there were paint stains on them. Furthermore, instead of the ballet one could read poems by Lord Byron projected on the wall. They certainly were congruent (and I rediscovered Byron’s touching “Darkness”) but it’s not a ballet, and the dancers came in only very late into the orchestral intermezzo. Abbado did not direct badly but I felt he was accompanying well (which is still a great achievement) rather than looking for exciting ways to interpret the newly edited score, and overall he was not able to lift the musical part above the abominable visual disaster. Nino Machaidze’s voice is well projected and she has a good enough coloratura, but she impressed me much more in her Neapolitan Desdemona. My issue with Luca Pisaroni is that he is not a real bass voice and that makes him lose credibility as Mahomet altogether, especially when he awkwardly tries to reach the lower notes. Much better the two tenors. Sergey Romanovsky has a beautiful and strong tenor voice and his last aria is sung very well. I hope he choses his repertoire well and doesn’t push too much on the top notes as it would be a pleasure to hear him in the Neapolitan Rossini in future. Convincing was also John Irvin as Pamyra’s father, in fact more convincing that the day before at the the 3 Tenors’ concert. Cecilia Molinari was barely audible but Carlo Cigni, Xabier Anduaga, and Omar-Iurii were all convincing.

La pietra del paragone’s conductor Daniele Rustioni is precies but not as light as needed. Margheri has the right physique du role for Count Asdrubale and a nice voice but he is somewhat flat in colours and a little clumsy with the agilities. Even worse Aya Wakizono, she is almost inaudible in the grave and center even with the orchestra playing pp. It is a disaster for a role that urges for the low notes of the voice. The coloratura is good but her pronunciation a bit scholarly and she really shines only when the variations bring her to the higher notes. Very good Paolo Bordogna who, though with a slight tight vibrato, is a great singer who’s Pacuvio does not find obstacles in the range, his agilities good and much fun on stage. Wonderful Davide Luciano, who I gladly saw again after the very positive impression he had made on me in the Inganno felice, an impression that was repeated: beautiful voice, sure in the agilities, excellent phrasing, but also a great actor who knows how to speak with body, gestures, and a simple look. The direction uses the whole setting of a modern house in a continuous flow of people that makes the plot glide fluidly, beautiful the lights and the costumes, the latter in colourful and elegant 70s style.

Il viaggio a Reims: Direzione-Michele Spotti, Elementi scenici-Emilio Sagi, Costumi-Pepa Ojanguren, Corinna-Beatriz De Sousa, Marchesa Melibea-Martiniana Antonie, Contessa di Folleville-Giorgia Paci, Madama Cortese-Noluvuyiso Mpofu, Cavalier Belfiore-Oscar Oré, Conte di Libenskof-Emmanuel Faraldo, Lord Sidney-Elcin Huseynov, Don Profondo-Roberto Lorenzi, Barone di Trombonok-Michael Borth, Don Alvaro-Francesco Auriemma, Don Prudenzio-Daniele Antonangeli, Don Luigino-Alasdair Kent, Delia–Francesca Tassinari, Maddalena-Valeria Girardello, Modestina-Marigona Qerkezi, Zefirino/Gelsomino-Ruzil Gatin, Antonio-Aleksandr Utkin, 16 agosto 2017, Torvaldo e Dorliska, Direttore-Francesco Lanzillotta, Regia-Mario Martone, Scene-Sergio Tramonti, Costumi-Ursula Patzak, Duca d’Ordow-Nicola Alaimo, Dorliska-Salome Jicia, Torvaldo-Dmitry Korchak, Giorgio-Carlo Lepore, Carlotta-Raffaella Lupinacci, Ormondo-Filippo Fontana, 18 agosto 2017, Le siège de Corinthe, Direttore-Roberto Abbado, Progetto Regia-La Fura dels Baus, Regia e Scene-Carlus Padrissa, Elementi scenografici e pittorici, Costumi e Video-Lita Cabellut, Mahomet II-Luca Pisaroni, Cléomène-John Irvin, Pamyra-Nino Machaidze, Néoclès-Sergey Romanovsky, Hiéros-Carlo Cigni, Adraste-Xabier Anduaga, Omar-Iurii Samoilov, Ismène-Cecilia Molinari, 19 agosto 2017, La pietra del paragone, Direttore-Daniele Rustioni, Regia, Scene e Costumi-Pier Luigi Pizzi, Marchesa Clarice-Aya Wakizono, Baronessa Aspasia-Aurora Faggioli, Donna Fulvia-Marina Monzó, Conte Asdrubale-Gianluca Margheri, Cavalier Giocondo-Maxim Mironov, Macrobio-Davide-Luciano, Pacuvio-Paolo Bordogna, Fabrizio-William Corrò, 20 agosto 2017. Pictures: Studio Amati Bacciardi/RossiniOperaFestival/www.Lafura.com

Le prophète @ Toulouse

For and introduction to Le prophète see the article about the Essen production.

It’s true that nowadays it is very difficult to find the money to stage an opera in a “grand” manner the way it was supposed to surprise and amaze the audience in the past (starting with the machinery of the 18th century). And in Toulouse the locations only hinted at the ones required in the libretto and one had to use a bit of imagination (the wheat field, Jean’s abode, the church) and also the final explosion was a bit minimal. But if I compare this one with the Essen staging, then this was quite grand altogether, though a bit conventional. But the masses moved, the singers acted, the costumes were nice, the lighting adequate…I was quite happy.

 

Claus Peter Flor didn’t have the punch of Carella but accompanied well nonetheless albeit a bit unimaginative. There were also considerable and objectionalbe cuts such as Jean’s second act aria. Excellent both the orchestra and the chorus.

Nothing more to add to John Osborn’s singing I didn’t already say. His interpretation is not of an insolent, audacious Jean, rather a Jean victim of circumstances, singing with a soft and flexible voice. Excellent the two female characters. Sofia Fomina has a full, strong, lyrical soprano voice with a lush centre and an easy top. Kate Aldrich was an immense surprise. I always heard her in mezzo roles and was a bit skeptic as of whether she could manage the descends to the lowest notes the role required. But it was a first rate performance with resounding top notes fluid coloratura (in Fides’ last aria) and a mesmerizing stage presence.

direction musicale-Claus Peter Flor, mise en scène-Stefano Vizioli, décors et costumes -Alessandro Ciammarughi, lumières -Guido Petzold, mouvements chorégraphiques -Pierluigi Vanelli, Jean de Leyde-John Osborn, Fidès-Kate Aldrich, Berthe -Sofia Fomina, Jonas -Mikeldi Atxalandabaso, Mathisen -Thomas Dear, Zacharie -Dimitry Ivashchenko, Le Comte d’Oberthal-Leonardo Estévez. 30th June, 17, pictures by Patrice Nin.