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.

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Rossini Opera Festival, Pesaro, 2014

20140812_barb7The Academy of Fine Arts of Urbino, who was assigned to stage this year’s Barbiere di Siviglia did a marvelous job. The students had such a well conceived view of the opera, that one would have to seriously reconsider the big names in opera, certainly if compared to the main attraction of the festival, Armida.  Only few scenic elements are seen on stage, but very cleverly used. The singers are well directed, they move well, on stage and in the stalls, lights are playfully projected on the balconies (for e.g. during the storm scene, light droplets fill the whole opera house in a whirling crescendo which goes hand in hand with the music), mimes added for small background sketches. But numerous are the brilliant and entertaining ideas (the Calunnia was particularly successful), which make this Barbiere a joy to look at. The singers are not only good actors but they are all quite credible in their roles and all sing very well. Although I have my preferences, I would like to praise the group effort especially of Alex Esposito, Chiara Amarù, Florian Sempey and Juan Francisco Gatell, all of which manage the score’s requirements with relative ease. The director is Giacomo Sagripanti who brillantly directs a sparkling Orchestra Comunale di Bologna, cheerfully singling out minor passages in the score. Even without subtitles one was able to understand everything and the public was amused.

rossini-pesaro-armidaThe other opera given in Peasaro this year was Armida, composed for the Neapolitan forces of the San Carlo theatre. Isabella Colbran’s role is intepreted by Carmen Romeu. This Spanish young singer has a very fluid coloratura and a nice and warm middle register. Her lower notes are not as present and the top notes a bit strained and sometimes not in pitch. Given the demanding part of Armida, however, I still think Miss Romeu did a good job. Antonino Siragusa on the other hand was, in my opinion, almost perfect. Rinaldo, who succombs to the love for Armida, is particularly well suited for his solar voice (his duets with Armida are simply beautiful) and the fiendish coloratura is impeccably mastered (e.g. in Unitevi a gara). The second tenor in Armida was Dmitry Korchak who was also very well suited for his role(s), the coloratura and the high notes pulled off convincingly, as was Carlo Lepore as Idraote/Astarotte. Less incisive and vocally not as plausible was Randal Bills as Goffredo/Ubaldo, who in some cases was barely audible above the orchestra. My big disappointment went to both the stage and the music director. Luca Ronconi places two huge mobile panels on stage, filled with hanging Pupi Siciliani. All the men on stage are also equally dressed with the same armour. This was actually quite convincing for revoking the knightly world of the plot. But Armida is a magical opera, where Armida, torn between love and hate, whimsically changes her isle between horrid wilderness (orrida selva) and magical garden (giardino incantanto, ameni colline), flying away, in the last scene, on a carriage pulled by two dragons, “enveloped by globes of fire and smoke“. Nothing of all this. The only difference between the acts is the background, which changes from a grey-ish/brown rippled cloth to a golden wall. The wooden panel with a plastic plant-like object (enchanted garden??) only ads to the horrid. Difficult to get immersed in Tasso’s world with such a distant interpretation. Equally emotionally detached was Carlo Rizzi. Who directed a score with very few means of expression and very little subtleness. The musical pieces sound like a disconnected patchwork, with no caring stitches to hold them together. The chosen tempos are on the swift side, with no rubati and little pertinence to the score. Some of the strettas don’t follow the singers with the result that coloraturas become mushed and unclear. The pleasing ballet in Act II was modern and energetic.

Musica: Aureliano in Palmira, opera riscoperta al RofThird opera in Pesaro is Aureliano in Palmira. When Will Crutchfield directs on stage, his movements are aggressive and stiff. And this is exactly how the orchestra sounds: an emotionless metronome. The American director starts the opera with lethargic tempos that last until almost half the first act. Doesn’t do Rossini, who poured magnificent music into the score, any justice. The orchestra Sinfonica Rossini plays faultily and not always together.
Arsace’s role is two sizes too big for Lena Belkina who completely lacks dramatic weight for the interpretation of the Persian prince. All the notes were there, but when she was alone on stage and Crutchfield was conducting one or two yawns had to be suppressed. Opposite to her is the tenor. Nothing seems too difficult for Michael Spyres who has a homogeneous and strong voice throughout his range. However, although the coloratura was precise, I would wish a better articulation of the embellishments. Jessica Pratt is a delicate Zenobia and overall I think it is the more lyrical passages that suite her most. But even in the more dramatic of strettas and caballettas, the Australian soprano sings with agile vigor. The cast is completed by the very good Raffaella Lupinacci as Publia, Dimitri Pkhaladze, Dempsey Rivera, Sergio Vitale and Raffaele Costantini. Cleverly simple but effective is Mario Martone’s setting, a small labyrinth with movable, semi-transparent cloth panels. Martone is able to convey the tragic love of Zenobia and Arsace, who have to jump cruel hurdles for their love. Costumes are oriental in an convincing mise en scene.

reims2013gJust two words on the Viaggio a Reims, the yearly performance given by students of the Accademia Rossiniana led by Alberto Zedda. As usual one is impressed by the motivation and the enthusiasm of the young voices, especially in an opera as Il viaggio a Reims, which was explicitly composed for the coronation of Charles X for 14 of the greatest singers of the time and withdrawn after only 4 performances. It is also normal to hear the young artists lack vocal experience or stage presence, which is benevolently ignored for the sake of the group effort of singers under stress. But this year several voices hardly reached sufficiency. I would only like to mention Nico Darmanin and Aya Wakizono who I quite liked and were able to master their roles vocally and on stage. Yunpeng Wang had a pleasing voice but couldn’t get quite through the interpretative obstacles of his aria. Shahar Lavì and Isabel Rodriquez Garcia sang well albeit coldly their respective roles (Corinna and Madame de Folleville). (16/8/14)