Tancredi @ Brussels

It’s always a pleasure to hear Rossini’s Tancredi, the effort Rossini put into the composition is evident, especially in the women’s arias and duets. For the premiere at the Teatro la Fenice in Venice in 1813 he had two leading ladies: Adelaide Malanotte as Tancredi and Elisabetta Manfredini as Amenaide, the latter sang in Ciro in Babilonia a year earlier and Rossini would also compose the soprano part for her in Sigismondo and Adelaide di Borgogna. The team put together for the two evenings in Brussels, one with the happy ending written for Venice and one with the Ferrara ending (where Tancredi dies at the end) is somewhat heterogeneous. Giuliano Carella was the conductor and he conducted as usual, with vitality and verve. At times the precision of the singers’ coloratura suffered from tempi that were too speedy. But overall there were no drops in tension. The orchestra was not disastrous but not far from it either: I felt that as simple as the accompaniment can be in Italian opera, the more difficult it is to sound appropriate. In this respect the orchestra sounded quite mechanical, no nuance, no subtlety had to be expected, and in vain were Carellas gestures to play more piano. What lacked in Marie-Nicole Lemieux was the coloratura, quite unsatisfactory, but there is not too much of it in Tancredi and what one can appreciate is the beautiful chest register which Lemieux uses unsparingly. Evident is the big personality but the interpretation is questionable and the important final aria before the happy ending does not fully convince. I much enjoyed Salome Jicia as Amenaide although this part requires a higher soprano (as all parts do written for the Manfredini) and the picchettati in the beautiful aria in act 2 put her under strain in terms of precision and intonation as well as the cabaletta of her entrance aria but this was in part due to Carella’s tempi. Very well Enea Scala. Although no ringing voice, there was a beautiful research in colours and easy coloratura paired with an impeccable pronunciation. Nonetheless I’d much prefer him not to choose for the higher top notes’ option as they have the tendency to sound a bit harsh. Excellent Blandine Staskiewicz in the small role of Roggiero, I thought her aria in act 2 was impeccable. A bit subdued Lena Belkina as Isaura. Very unrefined was Ugo Guagliardo’s singing as Orbazzano.

Director-Giuliano Carella, choir leader-Martino Faggiani, Argirio-Enea Scala, Amenaide-Salome Jicia, Tancredi-Marie-Nicole Lemieux, Orbazzano-Ugo Guagliardo, Isaura-        Lena Belkina, Roggiero-Blandine Staskiewicz, De Munt/La Monnaie Orchestra and Chorus, 11/10/17, http://www.urfm.braidense.it/rd/04966.pdf

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Rossini Opera Festival 2017

The only person who really impressed me this year at the Viaggio a Reims was Roberto Lorenzi with a true bass voice and a fluid coloratura. Others were also enjoyable such as Oscar Oré as Belfiore or Noluvuyiso Mpofu as Cortese. Corinna and Folleville lacked substance and were a bit thin. Good all others. The conductor Michele Spotti was hugely applauded but I found his direction a bit flat, colours missing and not much variation. The mise en scene was the very effective one by Emilio Sagi and as always this Viaggio by the students of the Rossini Academy is a pleasure to watch, almost touching in the enthusiasm the young singers put into their singing and acting.

Torvaldo e Dorliska was this year’s most balanced opera I thought. Both the visual and musical side were satisfactory. The stage is nicely designed by Mario Martone, a forest behind a iron gate impress with the versatility it offers to move around it, and the delightful costumes by Ursula Patzak put us into the narrative immediately. Very well the young director Francesco Lanzillotta. He plays with colours, dynamics, and tempi to give the music the lightheartedness and tension it deserves. Salome Jicia, seemingly the Semiramide of the 2019 ROF, started on a wobbly foot with her first aria but her performance grew over time into a well performed Dorliska, though I felt her lower and middle register were not as strong as I remember them in Elena in last year’s Donna del lago. Very well Dmitry Korchak as her lover with a bright ringing voice he also had no difficulty to find his way through the rapid vocalisms, and the top notes were poured out with ease. Of Carlo Lepore I especially liked both the comic and tragic characterization of the character. Nicola Alaimo has not a huge voice but sings with great taste. Great fun was Filippo Fontana in his small aria Sopra quell’albero vedo un bel pero while I thought Raffaella Lupinacci was marvellous in the small role of Carlotta, her aria very well sung. Since i could not see the subtitles from where I was sitting, I especially appreciated how everybody put extra effort in the pronunciation as the plot was easily followed even without subtitles.

Le siège de Corinthe was a huge disappointment. The direction was given to La Fura dels Baus, who have created many memorable productions, but this opera did not tickle they inspiration at all I feel. They de-contextualized the plot, and the struggle for independence of the Greek from the Ottomans is interpreted by La Fura with the struggle for water. Although I get their point and can imagine the parallel somewhere, the show did not convince me in the least for the absence of a real storytelling, and boredom came up pretty soon. Furthermore 20L-water-bottles strung together into walls was visually not very pleasing. The costumes looked like there were paint stains on them. Furthermore, instead of the ballet one could read poems by Lord Byron projected on the wall. They certainly were congruent (and I rediscovered Byron’s touching “Darkness”) but it’s not a ballet, and the dancers came in only very late into the orchestral intermezzo. Abbado did not direct badly but I felt he was accompanying well (which is still a great achievement) rather than looking for exciting ways to interpret the newly edited score, and overall he was not able to lift the musical part above the abominable visual disaster. Nino Machaidze’s voice is well projected and she has a good enough coloratura, but she impressed me much more in her Neapolitan Desdemona. My issue with Luca Pisaroni is that he is not a real bass voice and that makes him lose credibility as Mahomet altogether, especially when he awkwardly tries to reach the lower notes. Much better the two tenors. Sergey Romanovsky has a beautiful and strong tenor voice and his last aria is sung very well. I hope he choses his repertoire well and doesn’t push too much on the top notes as it would be a pleasure to hear him in the Neapolitan Rossini in future. Convincing was also John Irvin as Pamyra’s father, in fact more convincing that the day before at the the 3 Tenors’ concert. Cecilia Molinari was barely audible but Carlo Cigni, Xabier Anduaga, and Omar-Iurii were all convincing.

La pietra del paragone’s conductor Daniele Rustioni is precies but not as light as needed. Margheri has the right physique du role for Count Asdrubale and a nice voice but he is somewhat flat in colours and a little clumsy with the agilities. Even worse Aya Wakizono, she is almost inaudible in the grave and center even with the orchestra playing pp. It is a disaster for a role that urges for the low notes of the voice. The coloratura is good but her pronunciation a bit scholarly and she really shines only when the variations bring her to the higher notes. Very good Paolo Bordogna who, though with a slight tight vibrato, is a great singer who’s Pacuvio does not find obstacles in the range, his agilities good and much fun on stage. Wonderful Davide Luciano, who I gladly saw again after the very positive impression he had made on me in the Inganno felice, an impression that was repeated: beautiful voice, sure in the agilities, excellent phrasing, but also a great actor who knows how to speak with body, gestures, and a simple look. The direction uses the whole setting of a modern house in a continuous flow of people that makes the plot glide fluidly, beautiful the lights and the costumes, the latter in colourful and elegant 70s style.

Il viaggio a Reims: Direzione-Michele Spotti, Elementi scenici-Emilio Sagi, Costumi-Pepa Ojanguren, Corinna-Beatriz De Sousa, Marchesa Melibea-Martiniana Antonie, Contessa di Folleville-Giorgia Paci, Madama Cortese-Noluvuyiso Mpofu, Cavalier Belfiore-Oscar Oré, Conte di Libenskof-Emmanuel Faraldo, Lord Sidney-Elcin Huseynov, Don Profondo-Roberto Lorenzi, Barone di Trombonok-Michael Borth, Don Alvaro-Francesco Auriemma, Don Prudenzio-Daniele Antonangeli, Don Luigino-Alasdair Kent, Delia–Francesca Tassinari, Maddalena-Valeria Girardello, Modestina-Marigona Qerkezi, Zefirino/Gelsomino-Ruzil Gatin, Antonio-Aleksandr Utkin, 16 agosto 2017, Torvaldo e Dorliska, Direttore-Francesco Lanzillotta, Regia-Mario Martone, Scene-Sergio Tramonti, Costumi-Ursula Patzak, Duca d’Ordow-Nicola Alaimo, Dorliska-Salome Jicia, Torvaldo-Dmitry Korchak, Giorgio-Carlo Lepore, Carlotta-Raffaella Lupinacci, Ormondo-Filippo Fontana, 18 agosto 2017, Le siège de Corinthe, Direttore-Roberto Abbado, Progetto Regia-La Fura dels Baus, Regia e Scene-Carlus Padrissa, Elementi scenografici e pittorici, Costumi e Video-Lita Cabellut, Mahomet II-Luca Pisaroni, Cléomène-John Irvin, Pamyra-Nino Machaidze, Néoclès-Sergey Romanovsky, Hiéros-Carlo Cigni, Adraste-Xabier Anduaga, Omar-Iurii Samoilov, Ismène-Cecilia Molinari, 19 agosto 2017, La pietra del paragone, Direttore-Daniele Rustioni, Regia, Scene e Costumi-Pier Luigi Pizzi, Marchesa Clarice-Aya Wakizono, Baronessa Aspasia-Aurora Faggioli, Donna Fulvia-Marina Monzó, Conte Asdrubale-Gianluca Margheri, Cavalier Giocondo-Maxim Mironov, Macrobio-Davide-Luciano, Pacuvio-Paolo Bordogna, Fabrizio-William Corrò, 20 agosto 2017. Pictures: Studio Amati Bacciardi/RossiniOperaFestival/www.Lafura.com

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

 

 

 

The Rossini Opera Festival 2016 @ Pesaro

_12A3935SchrottPeretyatkoAlaimo_640xWhat a pity that il Turco in Italia was such a disappointment this year. Davide Livermore, director of several operas in Pesaro for several years now, transports the opera into a Fellinian movie. Similarly  L’Italiana in Algeri of last year was transported into the 60’s, where Livermore had to be careful on keeping the decade’s style. Differently, in Il turco in Italia, by sticking to the fellinian idea, he transforms the Turco-characters into Fellini-characters, adds several characters from the movies and has to match all the different characters among each other and with the libretto. And this sometimes leads to a boring confusion and forced situations that annoy on the long run. The set is beautiful, as are the costumes designed by Gianluca Falaschi. Musically the things don’t enthuse either. Speranza Scappucci does her best to underline the details of the score but directed the singers and orchestra without vivacity. Completely! Erwin Schrott as Selim is more interested in the setting than looking to sing in Rossini’s style…another disappointment. DSCF5635_640xRene Barbera has all the notes but leaves a bit cold. Olga Peretyatko, who is gorgeous on stage, could have been a good Fiorilla but she does not convince in the first act, let alone in her big aria Squallida veste bruna, which she finishes (badly) with big effort (partially excused by a note she issued saying that this was due to an allergy). Excellent, on the other hand, Pietro Spagnoli and Nicola Alaimo, who, except for an amazingly clear diction, vital for a comic opera, and the only two main characters that care pronouncing properly, understand how to sing Rossini, but alone cannot save the show from a sense of averageness.

 

_12A3131_640xCiro in Babilonia was given with a set, also by Davide Livermore, conceived for the ROF in 2012. The setting is created around the slient movie theme, with spectators in liberty style, projected intertitles, simplistic acting with emphasized body language and facial expression, and intentionally unrefined projections. it is a very clever direction which is easy to follow and extremely pleasant to watch. Musically Jader Benjamini gives a dramatic though airy and light imprint to this score of the young Rossini and accompanies the singers well. It would be very interesting to hear him in a more mature Rossini. The big star is Ewa Podles. The voice has still an amazing range, I am always impressed to hear both the almost manly-deep and the almost soprano-like high notes  in one single voice. Podles is expressive and a very good actress and impersonates not only a Persian prince but a loving father and husband. _C2A8163_1_640xThis is singing with a capital S and shows that Podles has, with over 60 years, still many strings in her bow and she received the ovation she deserved. Siragusa is always quite good with his luminous timbre, fluency in the colorature and attentive to diction. Petty Yende was a nice surprise. The quick florid passages were not as articulated, but she showed a good control in the extreme high register and was overall convining in the Rossinian style. A bigger attention to intonation would have completed her interpretation.

 

_MG_4549BritoSpyresJiciaMimicaAbrahamyan_1_640xLa donna del lago was, in my eyes, the most refined of Mariotti s conductions so far. From the first bars of the  introduction it is clear that he pays much care to the  details of the score, giving much attention to soli’s and accompaniment, uncovering the sounds of gurgling water, “morning dawns”, etc. etc. His tempi are perfect, dynamic and swift, without indulging in  superfluous oversentimentality, still tender and warm where  required, with an incredible play of rubati and attention to  details as rarely heard.  It is true what one says about Florez and the coloratura  that it is less fluid, but what is lost in flexibility is  gained in the search of softness and phrasing, colours  and accents. Unmatched. Michael Spyres  interprets the extremely difficult role of Ridrigo, cockily shooting high and baritonal notes and leaping over the pentagram as if there was no tomorrow.  _12A8691_640xVery good also Salome Jica in the role of Elena, good  coloratura and good range. Varduhi Abrahamyan is very good, though  lacks, in my eye, these Podles-like fullness in the lowest part of the range. Very good also the  minor parts. Michieletto sets the action as flashback. The opera begins with Malcolm and Elena living together in old age, with Elena thinking  with regret to the times she met the king. And Michieletto shows what Tottola and Rossini only hint at, a  loving relationship between the two, so the whole  direction centres around a love that could have been  and is (maybe) still there. In the world of subject matter experts a well known theory but Michieletto makes it visible with the  attention to details and coherence that is his trademark.

 

Il turco in Italia: Direttore-Speranza Scappucci, Regia e Scene-Davide Livermore, Videodesign-D-WOK, Costumi-Gianluca Falaschi, Progetto luci-Nicolas Bovey, Selim-Erwin Schrott, Fiorilla-Olga Peretyatko, Geronio-Nicola Alaimo, Narciso-René Barbera, Prosdocimo-Pietro Spagnoli, Zaida-Cecilia Molinari, Albazar-Pietro Adaini

Ciro in Babilonia: Direttore-Jader Bignamini, Regia-Davide Livermore, Videodesign-D-WOK, Scene e Progetto luci-Nicolas Bovey, Costumi-Gianluca Falaschi, Baldassare-Antonino Siragusa, Ciro-Ewa Podles, Amira-Pretty Yende, Argene-Isabella Gaudí, Zambri-Oleg Tsybulko, Arbace-Alessandro Luciano, Daniello-Dimitri Pkhaladze

La donna del lago: Direttore-Michele Mariotti, Regia-Damiano Michieletto, Scene-Paolo Fantin, Costumi-Klaus Bruns, Progetto luci-Alessandro Carletti, Giacomo V/Uberto-Juan Diego Flórez, Douglas-Marko Mimica, Rodrigo-Michael Spyres, Elena-Salome Jicia, Malcom-Varduhi Abrahamyan, Albina-Ruth Iniesta, Serano/Bertram-Francisco Brito, Elena anziana-Giusi Merli, Malcom anziano-Alessandro Baldinotti