In an interview Alex Ollé from La Fura dels Baus declares that he expected a more political dimension in the libretto of Un ballo in maschera. He sees conspiracy and political intriguing in it. He states that if Verdi would have been able to write the plot as he wished the libretto would contain more politcis. Ehmmm, really?…. In a letter to his librettist Antonio Somma we find him describing the subject for his new opera: Un soggetto bello, originale, interessante, con bellissime situazioni ed appassionato: passioni sopra tutto!…». So passions above all. In a subsequent letter he requires a libretto which is: «quieto, semplice, tenero: una specie di Sonnambula senz’essere un’imitazione della Sonnambula», “calm, simple and sweet: like a Sonnambula withouth being an imitation of Sonnambula“. No politics. However what Alex Ollé does well is to add a dramaturgic parallel without deranging the plot. Sure, Orwell’s 1984 isn’t a complete mismatch, under the totalitarian government of Riccardo (but then I tend to disagree, didn’t Verdi want to picture him as wise and enlightened?), just a bit monotone with its mask, its grey concrete slabs etc.
The singers were all honest professionals with adequate voices and Carlo Rizzi directed with insight as much as the score allowed. All in all a satisfactory evening on which I have to agree with the two ladies next to me, which stated “..not too bad this Ballo, compared to the things we usually see in Brussels” 🙂
Concept-Alex Ollé, Music direction-Carlo Rizzi, Staging collaboration-Valentina Carrasco, Set design-Alfons Flores, Costumes-Lluc Castells, Lighting-Urs Schönebaum, Video-Emmanuel Carlier, Gustav III-Stefano Secco, René Ankarström-George Petean, Amelia-Maria José Siri, Ulrica-Marie-Nicole Lemieux, Oscar-Kathleen Kim, Cristiano-Roberto Accurso, Ribbing-Tijl Faveyts, Horn-Carlo Cigni, Un giudice-Zeno Popescu, Un servo-Pierre Derhet