Don Giovanni @ Liége

don_giovanni_site_c_lorraine_wauters_-_opera_royal_de_wallonie-19-1It is the Belgian film director Jaco van Dormael who was in charge of the direction of the Liège Don Giovanni. The opera opens with Donna Anna swimming in her outside swimming pool, the balcony and the wide terrace dominated only by black. A huge tilted mirror allows to see the inside of the pool. With the appearance of Donna Elvira the huge mirror lowers (in fact a hidden platform) to show the interior of an office, again all in black. Jaco van Dormael sets the time in our days, Don Giovanni is a an avid office clerk that spends his money as quickly as he uses women, drinks alcohol, and of course uses cocaine. All works acceptably well, some of the singers are better actor than others and except for the all black set (who would even choose that??) a few laps in taste and a slow act I finale, the show is agreeable to watch. A comment for the Liège Opera house and whoever decides on the program booklet….I hated that Don Giovanni’s plot was told the way it’s directed: “Act II: Don Giovanni and Leporello have cocaine powder all over their faces”…. Really…???

don_giovanni_site_c_lorraine_wauters_-_opera_royal_de_wallonie-6_0-1Vocally the opening scene was not promising:  a hysteric-sounding Donna Anna that screamed rather than sang,  a Don Giovanni that reverted to talking, sang with an unfocused voice and quite some notes out of tune and a commendatore with an awfully dry voice made me fear the worst. But then things improved. Laurent Kubla, though a bit stiff on stage, portrayed a vocally acceptable Leporello. Salome Jicia as Donna Anna, after an uncertain start, displayed her vocal skills adequately. Well sang Veronica Cangemi as Donna Elvira, nice timbre and voice well controlled from top to bottom. From both ladies I would wish a more delicate emission. Alternate results from Leonardo Cortellazzi as Don Ottavio, in his Act I aria he displayed a wonderful timbre and sang especially touching, while the Act II aria was less convincing with a muddled coloratura. Celine Mellon is a sharp voiced Zerlina, well sung and acted. Only half convincing Roger Joakim as Masetto. I was not fully satisfied by Mario Cassi. Although scenically he is a credible Don Diovanni the role is a bit too low for him and the voice became less vibrant. Alessandrini sure kept it light and I never heard the orchestra of the Opera of Liege play, if not impeccably, at least delicate as this time.

 

22/11/16: Direction musicale-Rinaldo Alessandrini, Mise en scène-Jaco van Dormael, Décors-Vincent Lemaire, Costumes-Fernand Ruiz, Lumières-Nicolas Olivier, Don Giovanni-Mario Cassi, Leporello-Laurent Kubla, Donna Anna-Salome Jicia, Donna Elvira-Veronica Cangemi, Don Ottavio-Leonardo Cortellazzi, Zerlina-Céline Mellon, Masetto-Roger Joakim, Le Commandeur-Luciano Montanaro

 

 

 

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Le Nozze di Figaro – Mozartiade @ Brussels

1529 Shadi_TorbeyThe theatre was only half full, I guess due to a disorderly organization, change of name half way through, relative little public attention and little communication on ticket sales. But the location is extremely suitable for an opera production, one has a cosy sense of intimate informality. Eric Gobin puts 3 doors on the stage and very few props but it works. The musical part was somewhat uneven. David Miller’s direction is flat and monotone and the lack of colours and variations spread to the singers as well, with few exceptions. From the singers Keith Tillotson as Bartolo acted over the top and sang with poor intonation, while Christine Schmidt as Marcellina had a wobbly-ish voice, but was overall acceptable. Pauline Claes and Gianna Cañete Gallo were convincing as Cherubino and Barbarina. Cécile Lastchenko as Susanna and Laura Telly Cambier as Countess sang well but with a horrendous, really horrendous pronunciation. Laurent Kubla and Shadi Torbey on the other hand were very good. (Except for the few unprecise colorature in the Count’s aria) they both had an extreme clear pronunciation, beautiful voice (which was perfect for the size of the theatre) and great singing. Both were truly enjoable (and Shadi Torbey was even announced sick). Good all other roles and the lovely girls of the choir. The royal Chambre Orchestra of Wallonia played well.

Director-David Miller, Mise en scene-Eric Gobin, Figaro-Shadi Torbey, Susanna-Cécile Lastchenko, Conte Almaviva-Laurent Kubla, Conteassa Almaviva-Laura Telly Cambier, Cherubino-Pauline Claes, Barbarina-Gianna Cañete Gallo, Basilio-John Manning, Don Curzio-Jean-Michel Van Oosten, Marcellina-Christine Schmidt, Bartolo-Keith Tillotson, Antonio-Yu-Hsiang Hsieh

Rossini in Bad Wildbad 2015

Lindpaintner wikiPeter Joseph von Lindpaintner is one of many composers that have fallen into oblivion. Born in Koblenz 8th December 1791 he studied under Peter von Winter. As music director he worked first in Munich and then as Hofkapellmeister in Stuttgart. In the latter position Lindpaintner was appreciated by Schumann and Berlioz, and Mendelssohn wrote in a letter: “Der Lindpaintner ist, glaub’ ich, jetzt der beste Orchesterdirigent in Deutschland; es ist, als wenn er mit seinem Tactstöckchen die ganze Musik spielte” (Lindpaintner is now, I believe, the best director in Germany; it’s as if, with his batons, it’s him who plays the entire music). Almost forgotten nowadays, in his time he was held in high regard. The few things one can hear from Lindpaintner on youtube show a fertile talent, without the originality of other composers. The pieces are not memorable, but worth hearing. Regarding the opera presented in Bad Wildbad, Lindpaintner chose a historic/romantic/exotic subjects, as they were very fashionable at the time and the libretto of Die sizilianische Vesper by Heribert Rau makes no exception. It tells the story of the rebellion that broke out in Sicily during Easter of 1282 against the rule of the French king Charles I. Lindpaintner’s Die sizilianische Vesper (in Wildbad played as Il vespro siciliano, a version prepared by the composer) follows the trend of upcoming German grand opéra in the likes of Wagner’s Rienzi or some of the Marschner operas, while the musical model for the opera was clearly the grand opéra of Guillaume Tell, La muette de Portici, but mostly Meyerbeer.

Hearing a new piece of music for the first time is always a treat, just pity that two numbers were not played (choir and ballet in act III and Eleonora’s aria in act IV). Musically the opera in its entirety did not satisfy. It’s never very clear where the plot is going. Only the 4th act, which begins with a jailer being fooled and ends with the rebellion of the Sicilians, is very convincing. Although there are many lovely melodies, the musical inventions are without the dramatic depth one is accustomed to in Meyerbeer. Also the closing of the acts seem to come out of nowhere without a proper build-up. Nonetheless it remains a highly enjoyable evening just for the sake of hearing a musical novelty.

bianca_e_falliero_Forte-Tarver-Bad-Wildbad-2015 der neue merkerThe main Rossini opera given in Bad Widlbad was Bianca e Falliero, which was composed by Rossini in a hectic period for the Scala of Milan. Criticised by the contemporary press, it run for 39 evenings, a considerable number even for the time. About Bianca e Falliero Stendhal, in his Vie de Rossini, writes: Quant a la partition de Rossini, tout était reminiscence. If anything, the opposite is true. Rossini only uses the final rondo from the recently composed Donna del lago, but, except for a few hints, the music is original from the beginning to the end. In fact, Rossini will use some of the music for Moïse, Maometto II and Siège de Corinthe. The wonderful Act II quartet was inserted in a 1824 Parisian staging of La donna del lago. Except for the already mentioned Act II quartet, I personally think the Act I quartet Cielo il mio labbro ispira is equally beautiful as are the two duets of soprano and contralto (duets between soprano and contralto are always a treat in every Rossini opera).

L’inganno felice is a farsa, a short comic opera, the third staged opera composed for Venice when Rossini was not even 20 years old. L’inganno felice was quite successful in Italy and beyond. The Bad Wildbad staging is again simple and altogether satisfactory. Music-wise very good with a cast that was pleasing throughout the opera.

220px-Manuel_Garcia_as_Otello_in_Paris_from_Gallica A little unknown gem was proposed this year: Le cinesi, a one act opera composed by Manuel Garcia, a world class tenor in Rossini’s time (the first Almaviva in the Roman Il barbiere di Siviglia), composer, renowned teacher and partially famous for being the father of two famous primadonnas of the 19th century: Maria Malibran and Pauline Viardot. The plot of Le cinesi was used by several composers including Gluck. The voices were not perfect but some of them were very promising. The young singers all sang passionately and charmed with their enthusiasm. This 1hour and 15 minute long opera was a sheer delight to hear and watch.

Untitled The singers reunited this year in Bad Wildbad were mostly good. Bianca’s role was sung by Cinzia Forte, a soprano I heard several times lately, not from her best side, though, I must say. In Wildbad the approach was very cautious but with the help of the director Forte was utterly convincing in a very difficult role. Kenneth Tarver sang well but from the moment the singing line rose to higher notes, all coloratura was flattened and the voice sounded forced. I am unsure on what to say about the Falliero of Victoria Yarovaya. She certainly was appreciated by the public who loved the rapid coloratura, the house came down after each of her solo aria’s. Her voice is a typical Slavic voice with a slight vibrato, not a warm voice and a times a bit dry; Her coloratura was quick but not always di forza and a bit uneven. I’d certainly like to hear her again. Baurzhan Anderzhov, who was the 4th of the quartet and who sang also the villain in L’inganno felice, sang with a steady and beautiful voice and credible acting. The setting in Bianca e Falliero by Primo Antonio Petris was minimal but effective. A few huge golden frames gave partition to the stage and the pictures of Venice in the background immediately defined the location. Artavazd Sargsyan always convinced me in previous years but Bertrando’s entrance aria in Untitled2L’inganno felice was slightly nasal and quite unclean in the coloratura. Something I hope is an exception in this young singer’s career. Tiziano Bracci and Lorenzo Regazzo were superb in singing and acting. In fact what made the opera a delight was the comic verve of Lorenzo Regazzo. The “teneste la promessa”-joke was hilarious for who got it. A real actor who brought this lovely farsa to life. I personally prefer Della Benetta much more as Eleonora in Il vespro siciliano, where she is able to display her dramatic interpretation, than as Isabella, where she sounded a bit rigid. She has a strong and beautiful voice and I would like to hear her again, maybe in an unknown, dramatic Mercadanta, Pacini, Carafa, Coccia, or Manfroce. Danilo Formaggia as Conte di Fondi has a worn out voice, and it’s quite painful to hear him especially in the first act where his role is quite present. Cesar Arrieta is a charming Siveno and a fresh-voiced Drouet. Matija Meic sings well but I would have wished a king with more authority. Authority which Russo doesn’t lack, who also sings well. I much enjoyed Ana Victoria Pitts’ singing and acting as Tangìa.

Antonino Fogliani directs lightly with verve and vivacity (at times a tad too quick). Federico Longo directs well and brings the forgotten Vespro to life with a big sense of musicality. The Virtuosi Brunensis orchestra didn’t play well: many mistakes, smudged notes, wrong entries ecc. The Bach Choir Poznan sang adequately though with a miserable pronunciation.

All in all a wonderful program, which I much enjoyed although I would prefer Italian (-style) composers to German (after all it’s called “Belcanto Festival”)

To close with a minor note: This year in Bad Wildbad my hotel was close to the new parking lot. A slab of concrete close to the festival area. And I started to realized how much of it was present in Bad Wildbad: The concrete roofing of the shops just below the café Melange, the building just next to the Palais thermal, several houses in the shopping street, many of the small bridges that cross the Enz in the village centre just to name a few, which are just too many for an 11000 souls’ village.

23/7: Il vespro siciliano: Conductor-Federico Longo, Carlo d’Anjou-Matija Meic, Alphonse Drouet-César Arrieta, Il conte di Fondi-Danilo Formaggia, Eleonora-Silvia della Benetta, Celinda-Sara Baneras, Aurelia-Sara Blanch, Albino-Ana Victoria Pitts, Guillaume l’Etendard-Carlos Natale, Il conte di Marche/Francesco Ruffo/il carceriere-Damian Whiteley, De Bellecour-Daniele Caputo, Giovanni da Procida-Dario Russo, Visconte Vernazzo-Carlos Natale, il conte di Sanseverino-Gheroghe Vlad, Albergio da Barbiano-Marco Simonelli, Virtuosi brunensis, Bach Choir Poznan,
26/7: Bianca e Falliero: Contareno-Kenneth Tarver, Capellio-Baurzhan Anderzhanov, Bianca-Cinzia Forte, Falliero-Victoria Yarovaya, Priuli-Laurent Kubla, Loredano-Marconi Banaś, Costanza-Marina Viotti, Cancelliere e ufficiale-Artavazd Sargsyan, Conductor-Antonino Fogliani, Virtuosi brunensis, Bach Choir Poznan, Direction-Primo Antonio Petris
23/7: L’inganno felice: Bertrando-Artavazd Sargsyan, Isabella-Silvia Dalla Benetta, Ormondo-Baurzhan Anderzhanov, Batone-Tiziano Bracci, Tarabotto-Lorenzo Regazzo, Virtuosi brunensis
25/7: Le cinesi: Piano-Michele d’Elia, Regie-Jürgen Schönleber, Lisinga-Sara Baneras, Sivene-Silvia Aurea De Stefano, Tangia-Ana Victoria Pitts, Silango-César Arrieta

La Cenerentola in Liège or Un’acqua senza sale

c2Lovely start of the Liège season with Rossini’s La Cenerentola. For the mise en scene, the Opera Royal relied on Cécile Roussat et Julien Lubek, the same duo that tackled Die Zauberflöte in Liège 4 years ago. In both cases one notices the effort that is put behind the creative concept. In the case of La Cenerentola the opera opens with Don Magnifico’s palazzo in agonia split in 3 parts on a rotating platform (Don Magnifico’s bedroom, the outside space, and an all-purpose room. The rooms change to the throne chamber in Act II). The singers move freely from one space to another and the platform follows them rotating from room to room. The style and clothes are those of a fairy tale (or children’s book) and everything is enjoyable to look at and satisfying as far as the scenery goes. What was fully lacking was a choreography. Everything was very static, with minimum interactions. Emotions were conveyed only by the libretto’s words and Rossini’s music. Very disappointing.

 

c1 (1)The singers are overall very good, though. I especially enjoyed Bruno de Simone as Don Magnifico with an important stage presence, an excellent diction and a smooth voice. An excellent fit for the egomaniac social climber. Enrico Marabelli was an amusing Dandini with convincing voice and fairly sure in the coloratura. Dmitry Korchak is an excellent tenor who mastered the prince’s part with ease although the acuti of “Dentro al mio cuo—RE“ had to be prepared with enough time…. Laurent Kubla as Alidoro started very convincingly in his key entrances in Act I [as a beggar and with his “book of spinsters” or Codice delle zitelle), with an admirable pronunciation. Pity that the aria with which he brings Cenerentola to the ball shows his limits. The sisters Julie Bailly and Sarah Defries (from the latter, one could understand every single word that was said), sing well. Now Marianna Pizzolato is surprisingly the weakest link. Not only does she move less than all the others [which is quite something with such a static choreography] but her voice is not at all what I remember her for her previous Rossini, in Liege and Pesaro. It’s a singer who until very recently showed a deep, warm, pleasant voice, with admirable coloratura, capable of filling a theatre twice as large as the Liege house. Throughout the performance however I barely heard her, her coloratura only approximate, the acuti strained and almost screamed, the low notes gone. She was, I unhappily must say – quoting Tisbe describing her sister – un’ acqua senza sale.

Paolo Arrivabeni directs satisfactorily an orchestra that improved much in the Italian repertoire.