Rossini Opera Festival 2018 @ Pesaro

It’s always interesting to follow the Viaggio a Reims of the Accademia in Pesaro, one can hear interesting young voices which might be successful one day. Excellent, I thought, was the Lord Sidney of Nicolò Donini, with not only fluid coloratura but also the emphasis he put on pronunciation and interpretation. Milla Mihova’s Cortese was also quite good with a strong voice, fluid embellishments and a steady top register. I would have loved to hear her as Corinna. A tenor I also enjoyed was Anatoliy Pigrebnyy as Belfiore, with a nice extension and a ductile voice. Corinna, Folleville and Trombonok all simplify the quick coloratura, Sennikova is a bit mellifluous. I would have loved to see Carles Panchon, who sang the role of Antonio the 17th, sing the role of Sidney the 14th (the students of the accademia alternate roles in two different dates). His voice was quite beautiful and strong and convinced even in the small role of Antonio with a funny mimicry. The orchestra was adequately conducted by Hugo Carrio.

Ricciardo e Zoraide was one of the main events in Pesaro this year, the opera was composed in Naples in 1818 but was not, also in modern times, very lucky with revivals. Juan Diego Florez comes back for yet another role composed for Giovanni David, the tenore di grazia active in Naples at that time. (In fact most of Rossini’s Neapolitan operas have 2 tenor roles, one tenore di grazia and one baritenor. The latter was Andrea Nozzari, for whom Rossini composed the roles of Otello, Rinaldo (Armida), Pirro in Ermione, Rodrigo (La donna del lago), Antenore (Zelmira). Juan Diego Florez, after over 20 years of activity (he was “discovered” in Pesaro in 1996 when he had to replace the main tenore last minute to sing the murderous role of Corradino in Mathilde Di Shabran) still startles with the ease he reaches all the notes, his musical elegance, his impeccable coloratura. Romanovsky sang the role composed for Nozzari. Romanovsky has all the technical skills, the coloratura and the extension, and this is already quite impressive. However the voice sounds a bit muffled and does not expand. Pretty Yende is a credible Zoraida, the clear top notes flow with ease, the interpretation credible. Also Victoria Yarovaya convinces as Zomira in the difficult Pisaroni role. An incredible surprise was the third tenor, Xabier Anduaga, a very resounding voice with easy top notes and an incredible projection. I hope to hear him in more Rossini soon. Dull on the other hand the direction of Marshall Pynkoski. He moves the plot from Nubia to a very generic oriental place. The settings are pleasing and the colours beautiful, but except for a handful of ubiquitous ballet dancers who constantly accompany the plot, there is no action on stage except for minimal and very generic standard movements, the singers being mainly turned towards the audience. The excellent orchestra sinfonica nazionale della RAI was adequately conducted by Giacomo Sagripanti.

For the 150th anniversary of Rossini’s death this year, the ROF commissioned a new Barbiere di Siviglia, a choice much criticized on- and offline. The reason being Barbiere being one of the world’s most performed operas and the detractors wished a more rare opera. Nonetheless, in my view, it turned out to be a very good production. The setting is beautiful. In an atemporal Seville, Pizzi plays with the airy space and just a few touches of contrasts and colours. The singers’ movements are very generic, some good ideas but not everything convinces (Basilio’s stutter, Bartolo’s French R…). Very elegant the costumes.
What makes this Barbiere so special is the importance put on the text and this is thanks mainly to the 3 low male roles. I always was a big fan of Spagnoli and I was very happy to hear him sing in this Barbiere. Even happier I was to see a young singer I value, Davide Luciano. If the acting was good, it was mainly thanks to these two singers. (I liked the delicate rapper movements of Spagnoli, as if to underline the modernity of Rossini in his time, the rapid sillabato being our rap). Maybe Spagnoli is more delicate in the search of the right nuance, though I found his voice not always as round and soft especially in the higher register, but both have an excellent musicality, are wonderful actors, have wonderful body gestures. The phrasing is excellent, each word adapts to the flow of the music, the pronunciation impeccable. Two charismatic top singers. Mirinov is very good as count, not a big voice but he nimbly flies over all runs. Not very big isn’t Rosina’s voice either. I’m not sure why the ROF keeps choosing her in the mezzo or alto roles. The vocality does not suit her very much. The voice is placed high and one can hear that even in the recitatives which don’t have necessary weight in these low roles. In the rapid embellishments she’s not always audible. When she gets time she does reach the low notes, her coloratura is fluid, her pronunciation good and she moves well on stage. Elena Zilio is lovely as Berta and Pertusi a correct Basilio.

Adina is a little comic opera Rossini composed in the heights of his Neapolitan success in 1818, exactly 200 years ago, as was also Ricciardo e Zoraide. Written for a still unknown commissioner, the opera was composed using either own music from lesser known operas or composed by Rossini’s collaborators. Not even a handful of pieces were freshly composed for this work. Eventually the opera was first staged only 8 years later in Lisbon.
Pesaro’s direction by Miss Cucchi imagines the plot deploying from a nuptial cake being prepared. Loads of different characters move on stage with colourful clothes in front of a stage-filling cake. The main characters were all quite good. Lisette Oropesa was almost worshipped as an excellent newcomer, despite her success abroad. I found her timbre a bit cold and her coloratura a bit too much on the “di grazia” side, but she certainly has a full bodied voice also in the lower register and the top notes are propelled with no problem whatsoever. Very good Vito Priante as calif, from the rapid runs to the more lyric moments he is a fine singer. Both are also good actors and deliver excellent actorial skills in a libretto which mixes comic with semi dramatic moments. Although still able to mature I liked also the tenor, who is assimilating the bel canto style and has no problems with the tessitura of a tenore di grazia. Good all other roles with the lovely eunuch Ali who delivers his sorbet aria with elegance and Davide Giangregorio’s Mustafá.

Ricciardo e Zoraide: Direttore-Giacomo Sagripanti, Maestro del coro -Giovanni Farina, Regia-Marshall Pynkoski, Scene-Gerard Gauci, Costumi-Michael Gianfrancesco, Luci-Michelle Ramsay, Coreografie-Jeannette Lajeunesse Zingg, Agorante-Sergey Romanovsky, Zoraide-Pretty Yende, Ricciardo-Juan Diego Flórez, Ircano-Nicola Ulivieri, Zomira Victoria Yarovaya, Ernesto-Xabier Anduaga, Fatima-Sofia Mchedlishvili, Elmira-Martiniana Antonie, Zamorre-Ruzil Gatin
Il viaggio a Reims: Direttore-Hugo Carrio, Corinna-Aleksandra Sennikova, Marchesa Melibea-Claudia Verrecchia, Contessa di Folleville-Larisa Stefan, Madama Cortese-Milla Mihova, Cavaliere Belfiore-Anatoliy Pigrebnyy, Conte di Libenskof-Shanul Sharma, Lord Sidney-Nicoló Donini, Don Profondo-Peter Sokolov, Barone di Trombonok-Igor Onishchenko, Don Alvaro-Alejandro Sanchez, Don Prudenzio-Gálvez, Don Luigino-Antonio Gares, Delia -Maria Laura Iacobellis, Maddalena-Anastasia Medvedeva, Modestina-Claudia Muschio, Gelsomino-Manuel Amati, Antonio-Carles Pachon
Adina: Conductor-Diego Matheuz, Director-Rosetta Cucchi, Set designer-Tiziano Santi, Costumes-Claudia Pernigotti, Adina-Lisette Oropesa, Semino-Levy Sekgapane, Califfo-Vito Priante, Ali-Matteo Macchioni, Mustafà-Davide Giangregorio
Il barbiere di Siviglia: Director-Yves Abel, Director, costumes, set designer-Pier Luigi Pizzi, Conte Almaviva-Maxim Mironov, Rosina-Aya Wakizono, Figaro-Davide Luciano, Dr. Bartolo-Pietro Spagnoli, Don Basilio-Michele Pertusi, Berta-Elena Zilio, Fiorello-William Corrò
Foto studio Amatio Bacciardi, performances of the 17th, 19th and 21st August 2018.

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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

Pesaro – Rossini Opera Festival 2015

IMG_3420Every year, The Accademia Rossiniana of Pesaro teaches young singers about the interpretation of Rossini who then all give their best in Il viaggio a Reims. Famous singers have passed through this Viaggio and it is delightful to hear young and motivated voices. This year there were those who sing well but whose voice is too weak to be properly heard, those who pronounce miserably and have a shrill voice, those who just sing well and you imagine them grow artistically. This year I thought Sunnyboy Dladia, Rubén Pérez Rodriguez and Federica di Trapani were promising. My personal favourite was Leslie Visco, who I thought sang very well with a clear pronunciation the role of Madama Cortese. The Filarmonica G. Rossini orchestra didn’t play well at all, at times out of tune and unsynchronized once or twice. The director also lacked in Rossinian spirit.

messaThe Messa di Gloria was created by a Rossini who was worried of the public opinion. This might explain the careful composition, the “borrowing” of a theme from an opera by Mayr and the help of a fellow composer, Pietro Raimondi. One of the most important witnesses of the Messa di Gloria, which was first heard in the church of San Ferdinando in Naples in March 1820, was Carl Borromäus von Miltitz, a minor composer present in Naples who hoped to be staged by Rossini on one of the Neapolitan theatres. Not entirely adverse towards Italian music first, his tone became more and more aggressive when realizing that his opera would not be staged (For the highly amusing article I refer to Reto Müller in La Gazzetta nr 22 of the Deutsche Rossini Gesellschaft). Florez sang very well and has a beautiful voice though I slightly raised my eyebrow on the troublesome and hard sounding florid passages of qui sedes ad dexteram patris. The radiant looking Jessica Pratt sang extremely well with a stronger middle register, soft pianissimi, marvellous crescendo, clean vocalises and a dramatic interpretation of the cantata in both recitive and aria. I didn’t hear the mezzosoprano until her solo part in the terzetto and then only until she was joined by bass and soprano. Her coloratura was sometimes so quick she arrived at the end before the phrase actually ended. The voice is not particularly beautiful. The comparison with the soprano, who sang the same phrase, in the terzetto was quite pitiless, repeating the impression I had in Wildbad. Mirco Palazzi sang with a splendid and noble timbre and Dempsey Rivera was a good second tenor in the Kyrie with Florez. Not much personality emerged from Donato Renzetti, neither in the Messa nor in the Gazza. Heavy direction and little or no nuances.

Inganno_Pesaro1L’inganno felice is a farsa composed for the Teatro San Moisé in Venice in 1812 and was one of the more successful of Rossini’s farse being frequently staged also outside Italy. Mariangela Sicilia and Carlo Lepore are both excellent. Beautiful voices, both convince with technical skills. Carlo Lepore is also perfect in action and pronunciation and achieves a tender and dramatic Tarabotto. If Mariangela Sicilia will make the right choices I am sure she will mature to an excellent career. UntitledVassilis Kavayas was slightly unripe in voice and didn’t convince much while Giulio Mastrototaro was only adequate as Ormondo. I found Davide Luciano as Batone simply superb: easy coloratura, beautiful voice, splendid acting and excellent pronunciation.  I certainly hope I will hear this promising young singer again. Graham Vick’s staging of 1994 has lost nothing of its freshness while the director Denis Vlasenko gives attention to details, and accompanies with elegance and grace.

gazza150815_640xLa gazza ladra was presented this year in the 2007 staging by Damiano Michieletto, who won the premio Abbiati in 2007 for best director. The staging is a transposition of the Gazza ladra plot into a modern version where the magpie is interpreted by a child who dreams the whole story. A touching staging, one of my favourite by the Venetian director, who, in most cases (in my eyes) fully grasps the spirit of the operas. From the original cast only Alex Esposito is present. And what a loss if he wouldn’t be. He sings and acts with talent interpreting a stirringly emotional father figure. René Barbera charms with a beautiful voice and adequate coloratura. Nino Machaidze sings with easy top notes and light coloratura but with a shrill-ish voice. Teresa Iervolino’s creamy voice fits the character of Lucia, and her gradual conversion from shrew to accepting mother-in-law, well. Marko Mimica gave the impression he is too concentrated to sing everything right, which slightly affected both musical and actorial performance, lacking in grandeur, but he contributed to the overall success of the opera. Peculiar choice was Lena Belkina, or whoever offered her the role of Pippo (and why did she ever accept it). Her voice shows clear difficulty in the first act where she struggles to reach the lower notes, which are hardly heard. Worse even, she “acts” funny to sing towards higher notes, which are sometimes screamed, sometimes out of tune because not able to descend. Very disappointing. She sang better in the duet of the second act. Orchestra and chorus were wonderful. Of Renzetti I have already spoken.

gazzetta150815_640xLa Gazzetta needs a entertaining show, able to grasp the Neapolitan humour, especially of Don Pomponio. And in Pesaro something went terribly wrong. Although glimpses of Naples were present with Don Pomponio’s dialect and the excellent mute role of Tommasí, the direction of Marco Carniti, although it had the benefit of making a rather confuse plot understandable, was nowhere near being amusing. The set follows the recent money-saving trend consisting mainly of tables and chairs, which do not much except rotating. Which is fine if the director had imagination and originality…. Big disappointment for me, who remembers the superlative staging of Dario Fo, which, although not being over-Neapolitan either, matched the whirling humour of the libretto. Musically on the other hand things went quite well with a cast which lived up to expectations. The recently found Act I quintet is charming. Enrique Mazzola directs a wonderful Orchestra del Comunale di Bologna. Hasmik Torosyan has a luscious voice, lovely pianissimi and an easy coloratura but I wish she didn’t force too much her higher notes. Maxim Mironov is a wonderful tenor, agile and mature, a delight to hear and see. Vito Priante took the role of Filippo and he did it with verve and musicality though the florid passages of his Act II aria are not all too fluid. Nicola Alaimo proved to be as convincing in dramatic as in comic opera. Doralice was finely sung by Raffaella Lupinacci and all other characters were also well interpreted.

Il viaggio a Reims (17/8/15) Direzione-Manuel Lopez-Gomez, Elementi scenic-Emilio Sagi, Costumi-Pepa Ojanguren, Corinna -Federica di Trapani, La marchesa Melibea-Shirin Eskandani, La contessa di Folleville-Kaori Nagamachi, Madama Cortese-Leslie Visco, Il cavaliere Belfiore-Sunnyboy Dladia, Il conte di Libenskof-Rubén Pérez Rodrìguez, Lord Sidney-Alessandro Abis, Don Profondo-Pablo Ruiz, Barone di Trombonok-Vincenzo Nizzardo, Don Alvaro/Antonio-Carlo Checchi, Don Prudenzio-Shi Zong, Don Luigino/Zeffirino/Gelsomino-Dangelo Fernando Dìaz, Maddalena-Cecilia Molinari, Delia-Carmen Buendia, Modestina-Salome Jicia

Messa di Gloria, Il pianto d’Armonia sulla morte d’Orfeo, La morte di Didone (18/8/15) Donato Renzetti, Jessica Pratt, Victoria Yarovaya, Juan Diego Florez, Mirco Palazzi, Dempsey Rivera

L’inganno felice (18/8/15) Direttore-Denis Vlasenko, Regia-Graham Vick, Scene e costumi-Richard Hudson, Progetto luci-Matthew Richardson, Isabella-Mariangela Sicilia, Bertrando-Vassilis Kavayas, Ormondo-Giulio Mastrototaro, Tarabotto-Carlo Lepore, Batone-Davide Luciano

La gazza ladra (19/8/15) Direttore-Donato Renzetti, Regia-Damiano Michieletto, Scene-Paolo Fantin, Costumi-Carla Teti, Progetto luci-Alessandro Carletti, Fabrizio Vingradito-Simone Alberghini, Lucia-Teresa Iervolino, Giannetto-René Barbera, Ninetta-Nino Machaidze, Fernando Villabella-Alex Esposito, Gottardo-Marko Mimica, Pippo-Lena Belkina, Isacco-Matteo Macchioni, Antonio-Alessandro Luciano, Giorgio-Riccardo Fioratti, Ernesto/Il Pretore-Claudio Levantino, Una Gazza-Sandhya Nagaraja

La gazzetta (20/8/15) Direttore-Enrique Mazzola, Regia e Costumi-Marco Carniti, Scene-Manuela Gasperoni, Progetto luci-Fabio Rossi, Don Pomponio Storione-Nicola Alaimo, Lisetta-Hasmik Torosyan, Filippo-Vito Priante, Doralice-Raffaella Lupinacci, Anselmo-Dario Shikhmiri, Alberto-Maxim Mironov, Madama La Rose-Josè Maria Lo Monaco, Monsù Traversen-Andrea Vincenzo Bonsignore, Tommasino-Ernesto Lama

Amsterdam, Il viaggio a Reims

New Picture - CopyIn 1825 Rossini was commissioned to compose an opera to celebrate the coronation of Charles X. Rossini ‘s music had taken Paris by storm in the 1820’s, the crème de la crème of Rossini singers were in Paris at that time and many of them sang in the premiere of Il viaggio a Reims ossia L’albergo del giglio d’oro. The insubstantial plot is basically only an excuse to hail Charles X and to deploy each singer’s musical skills: We are in the hotel “Il giglio d’oro” in Plobmbières-les-Bains, where a bunch of people are awaiting the carriages who will bring them to Reims for the coronation of Charles X. However they will wait in vain as the carriages will never arrive. Additional story lines make the plot quite confusing: the Spanish admiral and the Russian general fighting over the Polish widow, the English colonel secretly in love with Corinna, the Roman poetess, an overturned stagecoach which brings the fashionable French lady in distress etc.

The direction of this largely plotless opera is by Damiano Michieletto. A director who I admire much. In the Amsterdam version we are in the museum “Gallery Golden Lilium” under the direction of an anxious (read hysteric) Madama Cortese, and all characters are either people working in the museum or painted characters which come to life. The already complicated plot becomes even more intricate as the real and fictitious characters interact. I feel this particular direction is not Michieletto’s best but all in all it is cleverly conceived and put together. An intelligent creation and brilliantly thought through with remarkable effects.

And the music?

New Picture (1)There are many characters, and at least 10 of the singers need to be top performers (At the premiere they included Laure Cinti-Damoreau, Giuditta Pasta, Domenico Donzelli, Nicolas Levasseur and Ester Mombelli). Each of the numbers is a little gem and one of the highlights is a piece for 14 singers: the Gran Pezzo concertato a 14 voci. In Amsterdam I much liked Eleonora Buratto as Corinna, Juan Francisco Gatell as Belfiore and Bruno de Simone as Trombonok. I feel they are the only who do the music justice. In my opinion Gatell has improved a lot in the last years in terms of interpretation and diction and Buratto’s floating high notes are a pleasure to hear. Bruno de Simone is a stage lion, one of the few where words were understandable without harming the sung part. All have a good coloratura. Roberto Tagliavini as Lord Sidney, Anna Goryacheva as Melibea and Michael Spyres as Libenskof all displayed very fine singing. I liked Spyres less in the first act although I am not sure whether this was due to his voice or the vastness of the set (the museum). I would have liked a stronger voiced Sidney and Melibea but this might be the conductor’s fault, as we will see. Nino Machaidze as Contessa di Folleville manages the musical part adequately, as does Carmen Giannattasio as Madama Cortese. None of them are musically truly convincing. Nicola Ulivieri lacks the low notes and goes through what could be one of the funniest aria (Madaglie incomparabili) trivially and unconcerned. Mario Cassi as Don Alvaro is very mediocre, his entry (Questa vaga e amabil dama) is smudged and the Spanish song at the end was not really “Dell’Iberia il dolce canto“.

New Picture (2)In an interview the conductor Mr. Montanari stated that the most difficult part is to find the balance between the orchestra and the stage (oh really?) but he certainly was not a bit able to achieve this. I sometimes could barely hear the voices, let alone understand a word they were saying. The problem here is not one bad singer that spoils his aria. The problem here is that Mr Montanari reminds us throughout the evening of his vision, namely Rossini music as not light, brilliant and graceful but loud and heavy. No need for the singer to interpret, to sing the embellishments, to pronounce properly, because one can hardly hear them anyway. Add to this the following catalogue of absurdities: He adds glissandi, embellishments or chords with the cembalo during sung pieces (not only during recitativi)! He abruptly changes tempi to his liking, he even changes the rhythm (for e.g. in the accompaniment of the stretta in the duet Oh! Quanto ingannasi between Corinna and Belfiore, he puts accents on the 4th beat!! He also stomps his feet during Don Alvaro’s “Omaggio all’augusto duce” in a Spanish manner!!! And if he doesn’t have time to synchronize all these tasks, he sticks the baton between back and shirt by the backside of his collar. I hope I won’t have the sadness to see him wave at noise again.

Muzikale leiding-Stefano Montanari, Regie-Damiano Michieletto, Decor-Paolo Fantin, Kostuums-Carla Teti, Licht-Alessandro Carletti, Corinna-Eleonora Buratto, La Marchesa Melibea-Anna Goryachova, La Contessa di Folleville-Nino Machaidze, Madama Cortese-Carmen Giannattasio, Il Cavaliere Belfiore-Juan Francisco Gatell, Il Conte di Libenskof-Michael Spyres, Lord Sidney-Roberto Tagliavini, Don Profondo-Nicola Ulivieri, Il Barone di Trombonok-Bruno De Simone, Don Alvaro-Mario Cassi, Don Prudenzio-Biaggio Pizzuti, Don Luigino-Carlos Cardoso, Delia-Maria Fiselier, Maddalena-Teresa Iervolino, Modestina-Florieke Beelen, Zefirino / Gelsomino-Jeroen de Vaal, Antonio-Tomeu Bibiloni

Rossini in Bad Wildbad 2014

kktbwI was convinced i would hear Adelaide di Borgogna life for the first time when i ordered tickets in Bad Wildbad for the yearly festival dedicated to Rossini. A quick glance at my list of visited performances told me i saw the Pesaro performances as well. The cast at the time was “stellar”: Jessica Pratt and Daniela Barcellona. But I must admit I rarely listen to the CD with the wonderful Mariella Devia and Martine Dupuy either as the music has little appeal to me and the libretto is very insipid. The Bad Wildbad performance is enjoyable enough, Margarita Gritskova as Ottone has a smooth voice over the whole range, a clear enough diction and a fair coloratura. Ekaterina Sadovnikova as Adelaide and Baurzhan Anderzhanov as Berengario are also convincing. Luciano Acocella directs well. Antonio Petris is responsible for the mise en scene and he follows Schönleber’s bad taste.

morlacchiThis year the operatic rarity (which is analways welcome project) was Tebaldo e Isolina by Francesco Morlacchi. Tebaldo e Isolina premiered 1822 in Venice and was one of the major successes of the Perugia-born composer. Morlacchi’s score clearly assimilates the Rossinian writing, made evident by the structures of the musical numbers (for e.g. Isolina’s aria in the first act has several sections, cello introduction, the reading of a letter, pertichini and choir) and the fine orchestration. It is not a masterpiece if we compare it with the operas by Rossini of the same period, but the composition has beautiful pieces like the finale of the 1st act and the romance for Tebaldo “Caro suono lusinghiero”.
Sandra Pastrana is Isolina. Her voice is a clean and clear but at times one wishes more dramatic weight. Anicio Zorzi Giustiniani’s Boemondo was a very positive surprise to me. He has a naturally clear diction, (even for Italians this is not that evident) and a very pleasant voice. The coloratura is very fluid and the high notes clear and sure. Tebaldo’s role (which was written for the castrato Giovanni Battista Velluti, for whom Rossini composed the role of Arsace in Aureliano in Palmira and Meyerbeer the role of Armando in Il crociato in Egitto) was interpreted by Laura Polverelli. Polverelli has slightly worn high notes but a full and warm middle and lower register and the coloratura is fluid. The orchestra plays well and the director gives the singer time to develop the musical phrases.

Bad Wildbad-20140725-00947For the belcanto recitals, young singers perform in the recently renovated royal theatre (which seats 200 people). Some of the singers, which are students of Lorenzo Regazzo’s masterclasses (who joins in a terzetto from l’inganno felice), sing also minor roles in the opera’s in Bad Wildbad, many of them can be heard in the Viaggio a Reims, also performed in Bad Wildbad this year. They are all young and beautiful, they are all motivated and they all fully give themselves also in acting out their respective roles (I must say i was rarely moved so much during a recital). Some are very nervous and the heartily applause and cheering after each piece brings a clear relief and joy. The young artists are Cornelius Lewenberg, Guiomar Cantò, Baurzhan Anderzhanov, Matija Meic, Yasushi Watanabe, Artavazd Sargsyan, Olesya Chuprinova, Sofia Mchedlishvili, Silvia Aurea De Stefano, Carlos Cardoso, Lucas Somoza Osterc, Graziano Dallavalle, Anna Werle, Muriel Frankhauser, Alessandra Contaldo, Gheorghe Vlad, Miriam Zubieta. They were well accompanied on the piano by Michele D’Elia and Marco Simionato, Nicola Pascoli, Dimitri Candoni and Rossella Fracaros.

But if one thing is to enjoy their voices in carefully selected pieces, another is to endure a whole opera. Il viaggio a Reims’ score has been re-discovered only in 1984, and since then the opera serves as showcase for professionals and students alike.  But with singers which are not able to satisfy Rossini’s writing (it was composed for the best singers of the time, reunited in Paris for the coronation festivities of Charles X) a music director who hastily runs through the score and a scene director who fills the scenes with slap-sticks and buffoonery and clearly struggles with the amount of people on the stage, boredom and anger come up quickly. I will not describe the musical interpretation as the singers are young and full of enthusiasm (and some of them have remarkable qualities). But could another, easier opera not be chosen? This kind of operations are not in the interest of Rossini’s music, or the arts, or the singers themselves (among which I’d only single out Bruno Praticò and his experience). How difficult it is to cope with the Rossinian style was also recently shown in a scandalously poor performance of La gazzetta, given on a professional stage like the Liege Opera (Opéra Royal de Wallonie). I would, however, very gladly welcome the help of a film or drama school to take over the staging of operas.