Vaccaj’s Giulietta e Romeo in Martina Franca

Nicola Vaccaj is now mainly famous for his didactic singing method for opera singers but in his time he was an accomplished composer albeit in the shadow of Rossini. His Giulietta e Romeo  (1825) was very well received and often performed until Bellini wrote his own version in 1830. And even then, Maria Malibran, when singing Bellini’s opera, chose to sing Vaccaj’s finale instead of the original one, a practice frequently copied. Personally I find the music extremely pleasing with some excellent pieces such as the love duet in act I, the father’s touching aria in act II, the whole finale just to mention a few.

The delicate Giulietta was extraordinarily interpreted by Leonor Bonilla. Her beautiful voice rose to the top, ethereal notes very easily. Raffaella Lupinacci as Romeo perfectly rendered the energy of young Romeo. Vocally she did an excellent job in the chiselling of colours but her voice is not strong enough in the low notes and at times she was not very audible. Christian Senn’s Lorenzo was also very good with an equal register everywhere and a very good pronunciation. Leonardo Cortellazzi was an excellent Capellio, good pronunciation, vivid top register, beautiful timbre and fine impersonation of the compelling character the librettist Felice Romani makes of the father. I was less impressed by Vasa Stajkic’s Tebaldo who’s interpretation was a bit monochrome. The excellent Paoletta Marrocu could only make a stage-wise impressive and vocally expressive loving mother. 

The slightly gothic staging was simple but effective. A lateral transversal wall with medieval touches (representing first the Capulets’ palace with the balcony, and then the walls of the cemetery), a tomb and impressive lighting was enough to put us straight into the plot. The movement of the masses was excellent and also the single characters were admirably guided and thanks to Cecilia Ligorio’s direction the show had basically no drops in tension. In my opinion the only disagreeableness came from the conductor. He got loads of applause but in my personal view he directed too much on the slow side, so much as to sometimes lose the arch of the musical line. Directing in an open space he also did not balance the volume enough and some of the beautiful accompaniment got lost in the…open air.

Direttore-Sesto Quatrini, Regis-Cecilia Ligorio, Scène-Alessia Colosso, Costumi-Giuseppe Palella, Luci/Luciano Novello, Capellio-Leonardo Cortellazzi, Giulietta-Leonor Bonilla, Romeo-Raffaella Lupinacci, Adele-Paoletta Marrocu, Tebaldo-Vasa Stajkic, Lorenzo-Christian Senn, pictures from backtrack.com by Fabrizio Sansoni and Paolo Conserva, and provincia.mc.it, 31/07/18

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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