Mariotti & Co in Liege: Rossini’s La donna del lago and Stabat Mater

It was a pleasure to to see this production a second time, if only to see how well Michieletto can tell a touching story and only minimally interfere with the libretto. In this Donna del lago he tells the story with the eyes of old Elena and her secret love to the king. Elena and Malcolm have aged and they witness their own plot, discovering secrets they most likely didn’t tell each other. There were some very touching moments and I loved to see the show in the intimacy of the theatre rather than the huge space of the Adriatic Arena. Mariotti loves the score I feel. The rubati, the small plays with tempi and dynamics bring the score to life and it’s such a joy to hear him direct. The orchestra is far from impeccable but I never heard it play so well (bravo the clarinet). Rodvnanovsky had parts of his voice that sometimes sounded «unclean» (a cold?) but he masters his difficult role with relative ease. It’s more technical mastery, as where Pizzolato, although she lost some of the creaminess of her voice, has not only still impeccable coloratura but plays wonderfully with the colours, and her clear pronunciation makes poor Malcolm become a true romantic lover. Salome Jicia is less convincing than in Pesaro, she attacks her high notes a bit harshly at times, her pronunciation could also be improved but she makes a fine Elena nonetheless with a powerful coloratura and a beautiful closing aria. The small house of Liège is advantageous to Mironov’s voice, not large, but beautiful, light and flexible, sings excellently and in understandable Italian, his second act aria (whose melodic line I always found somewhat strange). Very well also Simón Orfila as Douglas. Barbaric the choir.

A couple of days later, with the same singers (Pizzolato, Jicia, Romanovsky, Orfila), Mariotti directed the Stabat Mater. I was not convinced. They all sounded a bit tired I thought. I much enjoyed Orfila, and next to him Pizzolato was the most balanced although with a fatigued upper register. Romanovsky was covered by the orchestra during much of his Cujus animam, but then shouted his cadenza. Salome Jicia did not convince in the upper register. I don’t know what it is, maybe all these roles are too high for her. I much enjoy her lower and middle register, but the runs in premuniri of the Morte Christi premuniri were very unrefined und with little legato. Mariotti pursues his play with dynamics and tempi, but rather unconvincigly this time, in slow movements he slows down even more, in loud parts he is exceedingly loud. A bit disappointing.

Direction Musicale-Michele Mariotti, Mise En Scène-Damiano Michieletto, Décors-Paolo Fantin, Costumes-Klaus Bruns, Lumières-Alessandro Carletti, Chef Des Chœurs-Pierre Iodice, , Elena-Salome Jicia, Malcolm-Marianna Pizzolato, Giacomo V-Maxim Mironov, Rodrigo-Sergey Romanovsky, Douglas-Simón Orfila, Serano & Bertram-Stefan Cifolelli, Albina-Julie Bailly, Elena Âgée-Giusi Merli, Malcolm Âgé-Alessandro Baldinotti, 8/05/12 and 12/05/18. Pic from Mr Mariotti’s facebook.

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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.