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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Die Zauberflöte @ Liège opera

zauberflote-mario-cassi-anneke-luyten-sabina-willeit-et-beatrix-papp-c-opera-royal-de-wallonie-lorraine-wauters-31The wonderful Mise en scène, created for the very same Liège opera in 2010 by Cecile Roussat and Julien Lubek brings us into a dreamlike, surreal and phantastic world of moving bedsheets, acrobats, and furniture coming to life, which fits  the magic world of the libretto perfectly.

The day I went the tenor singing Tamino was absent und his role was sung by Matthew Newlin, while the director Julien Lubek acted out Pamino’s role on stage. Newlin sang Tamino a bit throaty, with little refinement and short in the top of the range. Anne-Catherine Gillet as Pamina, though affected by a light vibrato, charmed with a lovely timbre and a good pronunciation of the German. I can’t say Mario Cassi as Papageno didn’t sing well but the effort to pronounce well was big and I feel it affected the singing line and overall performance. (Similar problem for Sarastro). Acceptable were the performances of Burcu Uyar as Queen of the Night, though not very sternflammend and with strained top notes, as well as Monostatos. Lovely the Papagena of Inge Freisig and very well the Three Ladies.

zauberflote-c-opera-royal-de-wallonie-lorraine-wauters-8Personally I feel that this production didn’t quite achieve a high standard due to the direction of Paolo Arrivabeni, who directs lively, but orchestra and singers show poverty of colours and monotony of phrasing.

Direction musicale-Paolo Arrivabeni, Mise en scène-Cecile Roussat et Julien Lubek, Décors -Elodie Monet, Cecile Roussat et Julien Lubek, Costumés-Sylvie Skinazi, Lumières-Marc Gingold, Pamina-Anne-Catherine Gillet, Tamino-Matthew Newlin, Papageno-Mario Cassi, Königin der Nacht-Burcu Uyar, Sarastro-Gianluca Buratto, Papagena-Inge Dreisig, Monostatos-Krystian Adam, Erste Dame-Anneke Luyten, Zweite Dame-Sabina Willeit, Dritte Dame-Beatrix Krisztina Papp, Sprecher-Roger Joakim, Erster priester 2. Genarnischter-Arnaud rouillon, Zweiter priester, erster geharnischter-Papuna Tchuradze

Amsterdam, Il viaggio a Reims

New Picture - CopyIn 1825 Rossini was commissioned to compose an opera to celebrate the coronation of Charles X. Rossini ‘s music had taken Paris by storm in the 1820’s, the crème de la crème of Rossini singers were in Paris at that time and many of them sang in the premiere of Il viaggio a Reims ossia L’albergo del giglio d’oro. The insubstantial plot is basically only an excuse to hail Charles X and to deploy each singer’s musical skills: We are in the hotel “Il giglio d’oro” in Plobmbières-les-Bains, where a bunch of people are awaiting the carriages who will bring them to Reims for the coronation of Charles X. However they will wait in vain as the carriages will never arrive. Additional story lines make the plot quite confusing: the Spanish admiral and the Russian general fighting over the Polish widow, the English colonel secretly in love with Corinna, the Roman poetess, an overturned stagecoach which brings the fashionable French lady in distress etc.

The direction of this largely plotless opera is by Damiano Michieletto. A director who I admire much. In the Amsterdam version we are in the museum “Gallery Golden Lilium” under the direction of an anxious (read hysteric) Madama Cortese, and all characters are either people working in the museum or painted characters which come to life. The already complicated plot becomes even more intricate as the real and fictitious characters interact. I feel this particular direction is not Michieletto’s best but all in all it is cleverly conceived and put together. An intelligent creation and brilliantly thought through with remarkable effects.

And the music?

New Picture (1)There are many characters, and at least 10 of the singers need to be top performers (At the premiere they included Laure Cinti-Damoreau, Giuditta Pasta, Domenico Donzelli, Nicolas Levasseur and Ester Mombelli). Each of the numbers is a little gem and one of the highlights is a piece for 14 singers: the Gran Pezzo concertato a 14 voci. In Amsterdam I much liked Eleonora Buratto as Corinna, Juan Francisco Gatell as Belfiore and Bruno de Simone as Trombonok. I feel they are the only who do the music justice. In my opinion Gatell has improved a lot in the last years in terms of interpretation and diction and Buratto’s floating high notes are a pleasure to hear. Bruno de Simone is a stage lion, one of the few where words were understandable without harming the sung part. All have a good coloratura. Roberto Tagliavini as Lord Sidney, Anna Goryacheva as Melibea and Michael Spyres as Libenskof all displayed very fine singing. I liked Spyres less in the first act although I am not sure whether this was due to his voice or the vastness of the set (the museum). I would have liked a stronger voiced Sidney and Melibea but this might be the conductor’s fault, as we will see. Nino Machaidze as Contessa di Folleville manages the musical part adequately, as does Carmen Giannattasio as Madama Cortese. None of them are musically truly convincing. Nicola Ulivieri lacks the low notes and goes through what could be one of the funniest aria (Madaglie incomparabili) trivially and unconcerned. Mario Cassi as Don Alvaro is very mediocre, his entry (Questa vaga e amabil dama) is smudged and the Spanish song at the end was not really “Dell’Iberia il dolce canto“.

New Picture (2)In an interview the conductor Mr. Montanari stated that the most difficult part is to find the balance between the orchestra and the stage (oh really?) but he certainly was not a bit able to achieve this. I sometimes could barely hear the voices, let alone understand a word they were saying. The problem here is not one bad singer that spoils his aria. The problem here is that Mr Montanari reminds us throughout the evening of his vision, namely Rossini music as not light, brilliant and graceful but loud and heavy. No need for the singer to interpret, to sing the embellishments, to pronounce properly, because one can hardly hear them anyway. Add to this the following catalogue of absurdities: He adds glissandi, embellishments or chords with the cembalo during sung pieces (not only during recitativi)! He abruptly changes tempi to his liking, he even changes the rhythm (for e.g. in the accompaniment of the stretta in the duet Oh! Quanto ingannasi between Corinna and Belfiore, he puts accents on the 4th beat!! He also stomps his feet during Don Alvaro’s “Omaggio all’augusto duce” in a Spanish manner!!! And if he doesn’t have time to synchronize all these tasks, he sticks the baton between back and shirt by the backside of his collar. I hope I won’t have the sadness to see him wave at noise again.

Muzikale leiding-Stefano Montanari, Regie-Damiano Michieletto, Decor-Paolo Fantin, Kostuums-Carla Teti, Licht-Alessandro Carletti, Corinna-Eleonora Buratto, La Marchesa Melibea-Anna Goryachova, La Contessa di Folleville-Nino Machaidze, Madama Cortese-Carmen Giannattasio, Il Cavaliere Belfiore-Juan Francisco Gatell, Il Conte di Libenskof-Michael Spyres, Lord Sidney-Roberto Tagliavini, Don Profondo-Nicola Ulivieri, Il Barone di Trombonok-Bruno De Simone, Don Alvaro-Mario Cassi, Don Prudenzio-Biaggio Pizzuti, Don Luigino-Carlos Cardoso, Delia-Maria Fiselier, Maddalena-Teresa Iervolino, Modestina-Florieke Beelen, Zefirino / Gelsomino-Jeroen de Vaal, Antonio-Tomeu Bibiloni

Une folie organisée o Guillaume Tell, L’occasione fa il ladro and L’italiana in Algeri at the Rossini Opera Festival 2013

imagesThe ROF or Rossini Opera Festival: The yearly festival dedicated to the opera’s of that tornado that revolutionized the musical world in 1810-1820. Pesaro is a small and pretty town on sunny adriatic, one eats well, enjoys the sea, in the evening one saunters well dressed in the centro storico or along the lungomare. There is also much music to be enjoyed and the happenings are semi-chique considering that one can sip Prosecco next to Alfred Brendel, be seated in a box next to Raina Kabaivanska or ask Patsy (aka Joanna Lumley) to light one’s sigarette during the break.
The 3 opera’s of the ROF 2013 are Guillaume Tell, L’occasione fa il ladro and L’italiana in Algeri.

tellThis year’s big attraction was meant to be Guillaume Tell. “Un’opera strana” was a comment from two well-read opera aficionado’s behind me. And one of the first Grand operà’s is indeed a little strange, with strikes of genius but also with long choral passages and little action. One can try to explain this with a mediocre libretto, or Rossini’s difficulty to adapt to the French style. The opera is undeniably quite long and includes the women’s terzetto in Act 4 and Jemmy’s aria in act 3, two often cut pieces.
Much has been written and discussed about Florez’s interpretation of Arnold, as the role is long and difficult, and his vocality does not seem fit for this heavier role. But he gets through the role and the first 3 acts without major problems. He sings a very moving Asile hereditaire in Act 4 but a mechanical Amis, amis in a discrete French. Big personal success and much applause of course, but Florez is an absolute star in Pesaro. I felt that Marina Rebeka’s voice was less controlled than in Amsterdam a couple of months back, with slightly screamed high notes and less precise coloratura (Mariotti’s tempi did not help) but she sang with a strong and steady voice. Like in Amsterdam, I did not like Nicola Alaimo as Tell, his stage presence and voice were not important enough to interpret the Swiss hero, neither in the heroic, nor in the more lyrical moments. In this Guillaume Tell, Jemmy’s aria, which is often cut, is re-introduced, but the game isn’t worth the candle neither for the piece on its own nor for the interpreter. Amanda Forsythe, whom I vividly remember as a spirited and sparkling Rosalia in L’equivoco stravagante in 2008 (Pesaro) sings well and with a good stage presence but with little voice and reducing the aria to a coloratura showpiece. The other singers were adequately cast although some of them had an execrable pronunciation.
tell5The musical director Michele Mariotti starts with a well directed Ouverture, playing with well placed rubati, but as already said, the opera is long and needs a director who is able to keep the suspense down to the wire. Although undeniably a good director, Mariotti had some odd choices of tempi and was not able to span the musical arch to the end.
Graham Vick’s direction is all based on socialist symbolism and a repeated display of the Habsburgs’ violence and humiliation over the Swiss. It’s a bit repetitive at times but it does not necessarily disturb the action. It is in fact quite conventional, occasionally even trivial (the stairs at the end; the soppy movie of Arnold’s father…) but the ballabili were very moving and well danced, although part of the public did not appreciate them, booing the dancers (shouldn’t they boo the director instead??). All in all, nothing to get overly excited or overly disappointed about. Just a bit too much.

occasione160813_640xL’occasione fa il ladro: One of the loveliest of the farse written for the Venetian teatro San Moisé, if you ask me. It is clear from the music Rossini forges for this short opera (eg the elaborate aria for Berenice and intricate second finale, which comprises several different musical structures) that the short form of farsa (a comic opera usually in one act, originating in Venice or Naples) was too tight to Rossini’s musical fecundity and inventiveness.
The production is the one Jean-Pierre Ponnelle created for Pesaro in 1987. It is based on simple and traditional acting with painted scenes and few props. The group of singers reunited is a mix of young newcomers like Enea Scala and Victoria Yarovaya, and more recurrent ROF singers like Roberto de Candia and Paolo Bordogna. The cast is good although one could pick about the insufficient coloratura di forza of one, the strained voice in the higher register of the other, the slight backwards voice of a third or the somewhat stiffness in acting of a fourth. But the group effort made it a very enjoyable musical evening.
occsI would like to mention Elena Tsallagova in the role of Berenice. She sang the loveliest Arpa gentil I ever heard life, in the 2011 Viaggio a Reims production in Pesaro (the yearly performance given after the seminar dedicated to interpretation of Rossini’s music). Unfortunately she made a bad choice with Contessa di Folleville of the same opera in Ghent in 2012. With her Berenice I found again the beautiful and pure voice I heard in 2011. Her coloratura can be impeccable if she finds a director who gives her the time to deploy it properly. Given a wise selection of adequate roles (belcanto, mostly, I hope) I wish Ms Tsallagova a very fruitful career.
The (female) musical director was Yi-Chen Lin, who directed with precision and supported the singers .

The third opera was L’Italiana in Algeri, which Rossini, already a small celebrity now, after the successes of Tancredi and La pietra del paragone composed for the Venetian Teatro San Benedetto in May 1813.
italiana150813_640xAlex esposito as Mustafà sings with impeccable pronunciation and nice, fullbodied voice. Which is a bit short in the deeper register but this does not lessen the overall respectable performance which he sings with precise enough coloratura in the florid passages. Mario Cassi as Taddeo and Mariangela Sicilia as Elvira sang admirable and Davide Luciano (as always accompanied by his good friend the eunuch…) gave a good interpretation of his aria, which btw, was not composed by Rossini but by an unknown collaborator. Yijie Shi does not have Florez’s smooth voice but he is a fine singer and comes across the difficult part of Lindoro quite well. The Isabella of Goryachova, on the other hand, was a questionable point. Clearly at ease with the coloratura, with a velvety voice, she is, however, a clear mezzosoprano, which makes it easy for her to fling to the higher, but gives her some trouble in the lower notes, which are barely audible (I had the same impressions when she sang Matilde di Shabran‘s Edoardo in Pesaro last year). Why she keeps singing contralto roles is unclear to me, which, if satisfactory when heard on radio, is unacceptable in a theatre, as her voice does not expand or spread well (She was a nice, velvet-voice Zerlina in Zurich, though)
Unfortunately the musical direction of this Italiana was given to José Ramon Encinar who directs in an unimaginative, lifeless, tedious and vigor-less manner. Never have i heard the Comunale di Bologna play so mechanically and with so little energy.
Where this Italiana scores brilliantly, in my opinion, is the 60’s-inspired direction by the always inventive Davide Livermore. It is quite difficult to list all the actions that are happening on stage. But Livermore’s interpretation is probably encouraged by the nonsense-inspired libretto (din-din, bum bum, pappataci etc); What we see on stage is a constant movement, a flow of people and animation, a non-stop of gags, a sophisticated machinery who brings us from Rome to Algiers, which shows us a plane crash on stage and an aquarium with a shark. From this point of view the singers were also fantastic actors, Alex Esposito jumps, dances, hops and leaps with astonishing energy, Goryachova showed us an enviable figure as the seducing Italian lady, and the innumerable variety of supporting characters like tourists, stewardesses and housemaids fill the stage with action; What I liked most is the dancing on stage, especially during the concertati and the strette, which accentuates so well Rossini’s musical sparkle and energy. Too much? De gustibus…

Guillaume Tell: Direttore-Michele Mariotti, Regia-Graham Vick, Scene e costumi-Paul Brown, Coreografie-Ron Howell, Progetto luci-Giuseppe di Iorio, Guillaume Tell- Nicola Alaima, Arnold Melchtal-Juan Diego Florez, Walter Furst-Simon Orfila, Melchtal-Simone Alberghini, Jemmy-Amanda Forsythe, Gesler-Luca Tittoto, Rodolphe-Alessandro Luciano, Ruodi Pêcheur-Celso Albelo, Leuthold / Un Chasseur-Wojtek Gierlach, Mathilde-Marina Rebeka, Hedwige-Veronica Simenoni, 20 august 2013

L’occasione fa il ladro: Direttore-Yi-Chen Lin, Regia, scene e costumi-Jean-Pierre Ponnelle, Ripresa della regia-Sonja Frisell, Don Eusebio-Giorgio Misseri, Berenice-Elena Tsallagova, Conte Alberto-Enea Scala, Don Parmenione-Roberto de Candia, Ernestina-Viktoria Yarovaya, Martino-Paolo Bordogna, 21 august 2013

L’italiana in Algeri: Direttore-José Ramon Encinar, Regia-Davide Livermore, Scene e Progetto luci-Nicolas Bovey, Costumi-Gianluca Falaschi, Mustafà Alex Esposito, Elvira-Mariangela Sicilia, Zulma-Raffaella Lupinacci, Haly-Davide Luciano, Lindoro-Yijie Shi, Isabella-Anna Goryachova, Taddeo-Mario Cassi, 22 august 2013; Pictures from http://www.rossinioperafestival.it/