Semiramide comes back to La Fenice, for which it was composed in 1823. It was Rossini’s last opera for Italy. The setting by Ms Ligorio is quite interesting as it changes from a superficial all-golden all-beautiful in the first act to a dark and black in the second, when all mysteries are unveiled. The dark represents, I imagine, the bleak future and dark emotions of almost all characters starting from Idreno who sees his throne snatched away by Arsace, Azema who is forced by the tenor to love him, Arsace discovering the awful truth and Semiramide brought to justice. The dancers are unconnected but bring some movement to the otherwise static plot.
The title role is adequately sung by Jessica Pratt. In the second act she brings a wider pallet of colours to the part and her top register shines but I felt the first act was less emotional and the variations in the repeats were of dubious taste. Enea Scala has some dryness in the high register, I think Idreno is more suited to a tenore di grazia and his push in the upper register make him lack colours but the boldness he approaches the role with is stunning. Esposito is excellent as actor and singer though the character of Assur- I guess-allows him to pull only a limited amount of registers. Teresa Iervolino has a strange enthusiams to attack some notes from below instead of straight on, but except for this she was my overall favourite. Arsace allows for a whole range of emotions and I was touched throughout, the low range of her voice is warm and generous and her coloratura comes with enviable ease. Smaller roles are adequately cast and they all sing well, I especially enjoyed the clear voice of lovely Azema. Frizza directs.
Direttore-Riccardo Frizza, Regia-Cecilia Ligorio, Scene-Nicolas Bovey, Costumi-Marco Piemontese, movimenti coreografici e ballerina-Daisy Phillips, Semiramide-Jessica Pratt, Arsace-Teresa Iervolino, Assur-Alex Esposito, Idreno-Enea Scala, Oroe-Simon Lim, Azema-Marta Mari, Mitrane-Enrico Iviglia, L’ombra di Nino-Francesco Milanese, 27/10/18, photos by Michele Crosera