Rarities in March (Paer’s Agnese and Meyerbeer’s Robert le diable)

A wonderful little rarity by Ferdinando Paer was staged by the Teatro Regio in Torino; Paer is one of many transition composers between Mozart and Rossini, who wrote excellent music, today unfortunately rarely performed. His Agnese was first performed in 1809 and then all over Italy and Europe until the 1820’s.  The plot revolves around Agnese who elopes with Ernesto, fact which drives her father into madness believing her dead. Hen Ernesto leaves Agnese she goes back to her father to ask for forgiveness (with her little daughter whom she gave birth to in the meantime). The plot has a happy ending with the father regaining his mind and Ernesto asking for forgiveness. Diego Fasolis kept the music exciting and crisp with an orchestra of the Regio at its best and beautifully played solos.
The director’s setting are huge old-style tin boxes which open and reveal the different interiours: the mental institute where Agnese’s father is treated, the forest, Pasquale’s cabinet etc.  Muscato’s direction is wonderful. The opera is semi serious and Muscato reflects it in the characters. Agnese and her father are heartbreaking, Ernesto with his over-dramatic movements hilarious. The doctor, Vespina the maid and Pasquale are well characterised and the chorus moves extremely well on stage.

The most impressive singers where Markus Werba as the father Uberto and Edgardo Rocha as Edgardo the repentant lover. Both brought a beautiful palette of colours to their interpretations. Markus Werba was incredibly touching as the father, elegant, never over the top, beautiful phrasing. Edgardo Rocha displayed a refined belcanto technique and on stage the over-the-top acting was irresistible. All other singers contributed also greatly to the success of this rarely staged opera. The musical direction, together with the heartwarming staging and the enthusiastic singers made this a rare and lovely opera experiences.

Another rarity was presented in Brussels, albeit in concert version, Robert le diable by Meyerbeer. I was very excited when I read about it as I think Meyerbeer composed wonderful music, melodic, dramatic, romantic. Less excited when I heard the names. Korchak (is he really up for the role?) Pidó (eye rolling) Auyanot (pouting with scepticism), Courjal (who?) Dral (who??). And who was the soprano again? But I must admit the performance was one of the best I’ve ever heard. Pidó conducted with incredible energy an orchestra that was in top shape, he also accompanied the singers very well. Korchak surprised me with a resounding voice, an admirable stamina, flexibility  and extension he kept from beginning to the end. It was the first time I heard Courjal but I find his warm voice very pleasant. He certainly is very good in the part of Bertram, though maybe not very diabolic. Another very good singer I really admired was Julien Dran in the role of Raimbaut. His voice light and flexible, he sang an impressive top note in his duet with Raimbaut. Yolanda Auyanet was very dramatic and well suited to the role of Alice. The soprano was of course Lisette Oropesa, who i remember well from her adina in Pesaro and even better from her Marguerite in Paris’ Les Huguenot. I thought she was stunning. Simply stunning. The timbre might not be as warm, but all notes, from the low to the high and top ones, all are there. The coloratura comes with apparent easy, the character of Isabelle well interpreted with beautiful colours and musicality. A very moving interpretation. A shame it did not come in a scenic version.

Direttore d’orchestra-Diego Fasolis, Regia-Leo Muscato, Scene-Federica Parolini, Costumi-Silvia Aymonino, Luci-Alessandro Verazzi, Agnese-María Rey-Joly, Uberto-Markus Werba, Ernesto-Edgardo Rocha, Don Pasquale-Filippo Morace, Don Girolamo-Andrea Giovannini, Carlotta-Lucia Cirillo, Vespina-Giulia Della Peruta, Il custode dei pazzi-Federico Benetti, 17/03/19, photos from Edoardo Piva@Teatro Regio

Conductor-Evelino Pidó, Chorus master-Martino Faggiani, Robert-Dmitry Korchak, Bertram-Nicolas Courjal, Raimbaut-Julien Dran, Alberti/Prêtre-Patrick Bolleire, Isabelle-Lisette Oropesa, Alice-Yolanda Auyanet, Héraut/Maître de cérémonie-Pierre Derhet, picture from Lisette Oropesa facebook page. 2/4/19

Les Huguenots @ Opéra de Paris

Too rarely is this masterpiece performed. It has a considerable length (usually between 4 and 5 hours) but the plot is well constructed and the music has practically no drops in tension, Meyerbeer creating a vivid intuition of dramatic situations and varied orchestral colours. The production by Andreas Kriegenburg is visually very pleasing, the cube structure fills the stage but feels very sterile, the moving stage allows to see what happens in two different places at the same time, the costumes are also beautiful. But choreography wise it is a bit boring. In Kriegenburg’s production the singers are often motionless, which is the antithesis of grand opera with its dramatic plot and finales and its amount of characters including the masses, who play a huge role. Also, it is not clear why the action should play in 2064. Does he want to say this tragedy can happen anytime? Would this be the only reason? Mariotti conducts well. At least much better than in Berlin. And although i wished a more dramatic rendering of the gloomy and sinister atmospheres (and i also had hoped in some grandiloquence) I still enjoyed his interpretation. Pity for some of the cuts in music. Although Meyerbeer himself didn’t mind and even proposed some of them, as comparison I can say that for the same amount of time, Minkowsky in Brussels proposed an almost complete score).

Jaho as Valentine has a beautiful, luminous voice. In the higher register that is, but it sounds a bit empty the lower she goes and her low notes are insufficient for her duet with Marcel and the one with Raoul. Nicolas Testé misses the extreme low notes but sings overall very well. Yosep Kang has all my appreciation for having stepped in last minute. His voice has a nice timbre in the middle register, his French is good, and he fills the huge Bastille room, but the role is heavy and this is audible at the high notes where he pushes the voice to its limits. Excellent Lisette Oropesa (who also steps in last minute replacing Diana Damrau) but has no problems whatsoever, she runs up and down the pentagram with no problems, her voice equal over the whole range, she delivers a credible performance and gets a long and deserved applause after her 2nd act aria. I never quite understood why Karine Deshayes is so praised in her home country. I heard her in Rossini and was disappointed. Meyerbeer suits her much better. I also thought Florian Sempey was very good as Nevers. Overall this Huguentos were not as excellent as the Brussels production (I keep coming back to this one, but except for the ballet everything was perfect, from Minkowsky’s stylistically impeccable conducting, over Py’s dramatic direction to the second cast led by a superb John Osborne with Henriette Bonde-Hansen and Ingela Brimberg) but still a very enjoyable evening. And what a wonderful music!!

Conductor-Michele Mariotti, Director-Andreas Kriegenburg, Set design-Harald B. Thor, Costume design-Tanja Hofmann, Lighting design-Andreas Grüter, Choreography-Zenta Haerter, Marguerite de Valois-Lisette Oropesa, Raoul de Nangis-Yosep Kang, Valentine-Ermonela Jaho, Urbain-Karine Deshayes, Marcel-Nicolas Testé, Le Comte de Saint-Bris-Paul Gay, La dame d’honneur-Julie Robard‑Gendre, Une bohémienne-Julie Robard‑Gendre, Cossé, un étudiant catholique-François Rougie, Le Comte de Nevers-Florian Sempey, Tavannes, premier moine-Cyrille Dubois, Méru, deuxième moine-Michal Partyka, Thoré, Maurevert-Patrick Bolleire, Retz, troisième moine-Tomislav Lavoie, Coryphée, une jeune fille catholique, une bohémienne-Élodie Hache, Bois-Rosé, valet-Philippe Do, Un archer du guet-Olivier Ayault, Quatre seigneurs-John Bernard, Cyrille Lovighi, Bernard Arrieta, Fabio Bellenghi, 4/10/18, photos de https://www.operadeparis.fr/en/season-18-19/opera/les-huguenots#gallery

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.