The Rossini Opera Festival 2016 @ Pesaro

_12A3935SchrottPeretyatkoAlaimo_640xWhat a pity that il Turco in Italia was such a disappointment this year. Davide Livermore, director of several operas in Pesaro for several years now, transports the opera into a Fellinian movie. Similarly  L’Italiana in Algeri of last year was transported into the 60’s, where Livermore had to be careful on keeping the decade’s style. Differently, in Il turco in Italia, by sticking to the fellinian idea, he transforms the Turco-characters into Fellini-characters, adds several characters from the movies and has to match all the different characters among each other and with the libretto. And this sometimes leads to a boring confusion and forced situations that annoy on the long run. The set is beautiful, as are the costumes designed by Gianluca Falaschi. Musically the things don’t enthuse either. Speranza Scappucci does her best to underline the details of the score but directed the singers and orchestra without vivacity. Completely! Erwin Schrott as Selim is more interested in the setting than looking to sing in Rossini’s style…another disappointment. DSCF5635_640xRene Barbera has all the notes but leaves a bit cold. Olga Peretyatko, who is gorgeous on stage, could have been a good Fiorilla but she does not convince in the first act, let alone in her big aria Squallida veste bruna, which she finishes (badly) with big effort (partially excused by a note she issued saying that this was due to an allergy). Excellent, on the other hand, Pietro Spagnoli and Nicola Alaimo, who, except for an amazingly clear diction, vital for a comic opera, and the only two main characters that care pronouncing properly, understand how to sing Rossini, but alone cannot save the show from a sense of averageness.

 

_12A3131_640xCiro in Babilonia was given with a set, also by Davide Livermore, conceived for the ROF in 2012. The setting is created around the slient movie theme, with spectators in liberty style, projected intertitles, simplistic acting with emphasized body language and facial expression, and intentionally unrefined projections. it is a very clever direction which is easy to follow and extremely pleasant to watch. Musically Jader Benjamini gives a dramatic though airy and light imprint to this score of the young Rossini and accompanies the singers well. It would be very interesting to hear him in a more mature Rossini. The big star is Ewa Podles. The voice has still an amazing range, I am always impressed to hear both the almost manly-deep and the almost soprano-like high notes  in one single voice. Podles is expressive and a very good actress and impersonates not only a Persian prince but a loving father and husband. _C2A8163_1_640xThis is singing with a capital S and shows that Podles has, with over 60 years, still many strings in her bow and she received the ovation she deserved. Siragusa is always quite good with his luminous timbre, fluency in the colorature and attentive to diction. Petty Yende was a nice surprise. The quick florid passages were not as articulated, but she showed a good control in the extreme high register and was overall convining in the Rossinian style. A bigger attention to intonation would have completed her interpretation.

 

_MG_4549BritoSpyresJiciaMimicaAbrahamyan_1_640xLa donna del lago was, in my eyes, the most refined of Mariotti s conductions so far. From the first bars of the  introduction it is clear that he pays much care to the  details of the score, giving much attention to soli’s and accompaniment, uncovering the sounds of gurgling water, “morning dawns”, etc. etc. His tempi are perfect, dynamic and swift, without indulging in  superfluous oversentimentality, still tender and warm where  required, with an incredible play of rubati and attention to  details as rarely heard.  It is true what one says about Florez and the coloratura  that it is less fluid, but what is lost in flexibility is  gained in the search of softness and phrasing, colours  and accents. Unmatched. Michael Spyres  interprets the extremely difficult role of Ridrigo, cockily shooting high and baritonal notes and leaping over the pentagram as if there was no tomorrow.  _12A8691_640xVery good also Salome Jica in the role of Elena, good  coloratura and good range. Varduhi Abrahamyan is very good, though  lacks, in my eye, these Podles-like fullness in the lowest part of the range. Very good also the  minor parts. Michieletto sets the action as flashback. The opera begins with Malcolm and Elena living together in old age, with Elena thinking  with regret to the times she met the king. And Michieletto shows what Tottola and Rossini only hint at, a  loving relationship between the two, so the whole  direction centres around a love that could have been  and is (maybe) still there. In the world of subject matter experts a well known theory but Michieletto makes it visible with the  attention to details and coherence that is his trademark.

 

Il turco in Italia: Direttore-Speranza Scappucci, Regia e Scene-Davide Livermore, Videodesign-D-WOK, Costumi-Gianluca Falaschi, Progetto luci-Nicolas Bovey, Selim-Erwin Schrott, Fiorilla-Olga Peretyatko, Geronio-Nicola Alaimo, Narciso-René Barbera, Prosdocimo-Pietro Spagnoli, Zaida-Cecilia Molinari, Albazar-Pietro Adaini

Ciro in Babilonia: Direttore-Jader Bignamini, Regia-Davide Livermore, Videodesign-D-WOK, Scene e Progetto luci-Nicolas Bovey, Costumi-Gianluca Falaschi, Baldassare-Antonino Siragusa, Ciro-Ewa Podles, Amira-Pretty Yende, Argene-Isabella Gaudí, Zambri-Oleg Tsybulko, Arbace-Alessandro Luciano, Daniello-Dimitri Pkhaladze

La donna del lago: Direttore-Michele Mariotti, Regia-Damiano Michieletto, Scene-Paolo Fantin, Costumi-Klaus Bruns, Progetto luci-Alessandro Carletti, Giacomo V/Uberto-Juan Diego Flórez, Douglas-Marko Mimica, Rodrigo-Michael Spyres, Elena-Salome Jicia, Malcom-Varduhi Abrahamyan, Albina-Ruth Iniesta, Serano/Bertram-Francisco Brito, Elena anziana-Giusi Merli, Malcom anziano-Alessandro Baldinotti

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Rossini Opera Festival, Pesaro, 2014

20140812_barb7The Academy of Fine Arts of Urbino, who was assigned to stage this year’s Barbiere di Siviglia did a marvelous job. The students had such a well conceived view of the opera, that one would have to seriously reconsider the big names in opera, certainly if compared to the main attraction of the festival, Armida.  Only few scenic elements are seen on stage, but very cleverly used. The singers are well directed, they move well, on stage and in the stalls, lights are playfully projected on the balconies (for e.g. during the storm scene, light droplets fill the whole opera house in a whirling crescendo which goes hand in hand with the music), mimes added for small background sketches. But numerous are the brilliant and entertaining ideas (the Calunnia was particularly successful), which make this Barbiere a joy to look at. The singers are not only good actors but they are all quite credible in their roles and all sing very well. Although I have my preferences, I would like to praise the group effort especially of Alex Esposito, Chiara Amarù, Florian Sempey and Juan Francisco Gatell, all of which manage the score’s requirements with relative ease. The director is Giacomo Sagripanti who brillantly directs a sparkling Orchestra Comunale di Bologna, cheerfully singling out minor passages in the score. Even without subtitles one was able to understand everything and the public was amused.

rossini-pesaro-armidaThe other opera given in Peasaro this year was Armida, composed for the Neapolitan forces of the San Carlo theatre. Isabella Colbran’s role is intepreted by Carmen Romeu. This Spanish young singer has a very fluid coloratura and a nice and warm middle register. Her lower notes are not as present and the top notes a bit strained and sometimes not in pitch. Given the demanding part of Armida, however, I still think Miss Romeu did a good job. Antonino Siragusa on the other hand was, in my opinion, almost perfect. Rinaldo, who succombs to the love for Armida, is particularly well suited for his solar voice (his duets with Armida are simply beautiful) and the fiendish coloratura is impeccably mastered (e.g. in Unitevi a gara). The second tenor in Armida was Dmitry Korchak who was also very well suited for his role(s), the coloratura and the high notes pulled off convincingly, as was Carlo Lepore as Idraote/Astarotte. Less incisive and vocally not as plausible was Randal Bills as Goffredo/Ubaldo, who in some cases was barely audible above the orchestra. My big disappointment went to both the stage and the music director. Luca Ronconi places two huge mobile panels on stage, filled with hanging Pupi Siciliani. All the men on stage are also equally dressed with the same armour. This was actually quite convincing for revoking the knightly world of the plot. But Armida is a magical opera, where Armida, torn between love and hate, whimsically changes her isle between horrid wilderness (orrida selva) and magical garden (giardino incantanto, ameni colline), flying away, in the last scene, on a carriage pulled by two dragons, “enveloped by globes of fire and smoke“. Nothing of all this. The only difference between the acts is the background, which changes from a grey-ish/brown rippled cloth to a golden wall. The wooden panel with a plastic plant-like object (enchanted garden??) only ads to the horrid. Difficult to get immersed in Tasso’s world with such a distant interpretation. Equally emotionally detached was Carlo Rizzi. Who directed a score with very few means of expression and very little subtleness. The musical pieces sound like a disconnected patchwork, with no caring stitches to hold them together. The chosen tempos are on the swift side, with no rubati and little pertinence to the score. Some of the strettas don’t follow the singers with the result that coloraturas become mushed and unclear. The pleasing ballet in Act II was modern and energetic.

Musica: Aureliano in Palmira, opera riscoperta al RofThird opera in Pesaro is Aureliano in Palmira. When Will Crutchfield directs on stage, his movements are aggressive and stiff. And this is exactly how the orchestra sounds: an emotionless metronome. The American director starts the opera with lethargic tempos that last until almost half the first act. Doesn’t do Rossini, who poured magnificent music into the score, any justice. The orchestra Sinfonica Rossini plays faultily and not always together.
Arsace’s role is two sizes too big for Lena Belkina who completely lacks dramatic weight for the interpretation of the Persian prince. All the notes were there, but when she was alone on stage and Crutchfield was conducting one or two yawns had to be suppressed. Opposite to her is the tenor. Nothing seems too difficult for Michael Spyres who has a homogeneous and strong voice throughout his range. However, although the coloratura was precise, I would wish a better articulation of the embellishments. Jessica Pratt is a delicate Zenobia and overall I think it is the more lyrical passages that suite her most. But even in the more dramatic of strettas and caballettas, the Australian soprano sings with agile vigor. The cast is completed by the very good Raffaella Lupinacci as Publia, Dimitri Pkhaladze, Dempsey Rivera, Sergio Vitale and Raffaele Costantini. Cleverly simple but effective is Mario Martone’s setting, a small labyrinth with movable, semi-transparent cloth panels. Martone is able to convey the tragic love of Zenobia and Arsace, who have to jump cruel hurdles for their love. Costumes are oriental in an convincing mise en scene.

reims2013gJust two words on the Viaggio a Reims, the yearly performance given by students of the Accademia Rossiniana led by Alberto Zedda. As usual one is impressed by the motivation and the enthusiasm of the young voices, especially in an opera as Il viaggio a Reims, which was explicitly composed for the coronation of Charles X for 14 of the greatest singers of the time and withdrawn after only 4 performances. It is also normal to hear the young artists lack vocal experience or stage presence, which is benevolently ignored for the sake of the group effort of singers under stress. But this year several voices hardly reached sufficiency. I would only like to mention Nico Darmanin and Aya Wakizono who I quite liked and were able to master their roles vocally and on stage. Yunpeng Wang had a pleasing voice but couldn’t get quite through the interpretative obstacles of his aria. Shahar Lavì and Isabel Rodriquez Garcia sang well albeit coldly their respective roles (Corinna and Madame de Folleville). (16/8/14)