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

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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.