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

Advertisements

Ernani at the Liege Opera

ernani-alexise-yerna-et-elaine-alvarez-c-opera-royal-de-wallonie-lorraine-wauters-3Some things just seem strange and I’d love somebody to explain me a few things. Take the last Ernani at the Opera Royal de Wallonie. This institution has many interesting titles this season, such as Manon Lescaut (the Auber one), a Mascagni mass, Il segreto di Susanna etc. There are also many public favourites such as Lucia di Lammermoor, Traviata, Boheme, Il barbiere di Siviglia. Additional titles include La scala di seta, Ernani, La Voix humaine, the Requiem by Mozart and two solo concerts, Olga Peretyatko and Elina Garanca. A rich programme. Many performers are world class stars, such as Annick Massis, Celso Abelo, Anna Caterina Antonacci, Sumi Jo, Patrizia Ciofi etc. Maybe not in their prime, but certainly able to move. So then… Why would we need additional titles with performers who are not able to reach similar standards? I understand the need to attract paying public, but does the public really need to swallow everything? Take yesterday’s Ernani. I thought the director was excellent in his swift and energetic direction. But then we have a soprano who doesn’t force her voice, has an appreciable range but a questionable timbre and a dubious legato, the tenor is on the verge of breaking any second and screams rather than sing, and baritone and bass are so little convincing that I leave the theatre after the interval disappointed and sad. An opening of the opera season could have been done with most of the titles: 9 (counting Susanna/voix humaine as one) for the entire season but I would be happy with eight titles if this means to have better performers.

Conductor-Paolo Arrivabeni, Director-Jean-Louis Grinda, Set designs-Isabelle Partiot, Pieri, Costume designs-Teresa Acone, Lighting designs-Laurent Castaingt, Ernani-Gustavo Porta, Elvira-Elaine Alvarez, Don Ruy Gomez de Silva-Orlin Anastassov, Don Carlo-Lionel Lhote, Giovanna-Alexise Yerna

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.