What De Munt/La Monnaie doesn’t offer in terms of variety this year (50% is 20th century music and the remaining 50% are the omnipresent Haendel, Mozart and Verdi, though still one interesting Fierrabras – albeit in concert version) was given at the Bozar with only a couple of days from each other, organized by the Klarafestival.
Il barbiere di Siviglia. Not the well-known rossinian version, but Giovanni Paisiello’s, composed over 30 years earlier for the court of Saint Petersburg. Petrosellini’s libretto (which was set to music also by Francesco Morlacchi) is almost equal to Cesare Sterbini’s libretto for Rossini, and I was amused when I heard the same scenes, and in some cases the exact same words. Paisiello’s genius doesn’t show as much in the Barbiere as it does in other works like Nina or Fedra. But the music is delightful, with heights in the Pace e gioia ensemble, Rosina’s music lesson, Bartolo’s Vuoi tu Rosina. The singers also follow stage directions and act the respective roles so the evening is almost as enjoyable as a staged opera. The cast rests on Pietro Spagnoli’s shoulder who’s rendition of Bartolo is perfect: excellent diction, wonderful singing technique, versatile actor. The rest of the cast are solid professionals with Mari Erismoen as Rosina, André Schuen as Figaro and Fulvio Bettini as Don Basilio. I didn’t enjoy Topi Lehtipuu very much, whose voice I found weightless and dry. Renee Jacobs gives a personal but lively and sparkling rendition of the score making it a highly enjoyable evening.
The other vocal work given at Bozar only a couple of days later is Romeo et Juliette by Hector Berlioz. It is described as a symphonie dramatique and includes 3 soloists and a choire and is regarded as one of Berlioz most admirable works. Richard Wagner was present at the premiere on 24 November 1839 and it must have made an impression on him if 20 years later he sent Berlioz the printed version of his Tristan and Isolde with the inscription Au grand et cher auteur de Roméo et Juliette, L’auteur reconnaissant de Tristan et Isolde.
Isabelle Druet’s and Jean-François Borras’ roles are rather short and confined to the beginning and neither have particularly marked my mind. Jerome Varnier’s voice was a bit absent and I felt it didn’t give the big recitative and aria of père Laurence the gravity it needed. François-Xavier Roth, who directed an interesting Christophe Colombe (by Félicien David) in Gent which I much enjoyed, chiseld the wide variety of emotions perfectly, from the whirling “fête” to the sweet and delicate love duet (Romeo and Juliet are impersonated by the orchestra) and the stirring final “serment”