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.

Advertisements

Il barbiere di Siviglia @ Covent Garden

29029971664_656e01c687Weird, this production by the Royal Opera House Covent Garden. On paper a cast that could work, and directors I have appreciated much in the past. The direction was indeed clear and the directors filled all the stage directions with coherent and very funny gestures, such as the trio in Act II when Rosina, Figaro and the Count want to escape by the window: Rosina and the Count are so smitten that they continue undeterred to show their love with an excessive amount of vocalises with Figaro who tries to break this flow of ironic music. Just a detail, but many directors don’t focus on the unwritten details of the libretto. So well done!! But other things I was less happy with, such as the interaction between Basilio and Bartolo, filled with unsophisticated slapsticks. Maybe a bit too colourful, but altogether very pleasing, and the audience seemed very amused.

Musically I am slightly disappointed. Rosina had a very warm and appealing mezzo but her coloratura often smudged. 29029969364_1258854cb4Overall i found her interpretation over the top, closer to a ferocious Tosca than a malicious Rosina (screaming, kicking, throwing things about) but this might be the directors choice. The count, Javier Camarena, sang well, though I have heard him in serious Rossini singing much better. The musical lines not always even, some vowels bellowed others inaudible. Personally I found Basilio and Bartolo also quite unrefined and a bit too loud, although they are worldclass singers. Vito Priante was very good in his interpretation of the barber and also musically i was overall quite pleased. The director Henrik Nánási didn’t do much harm (I never heard such a “long” Act I finale, though).

 

Conductor-Henrik Nánási, Directors-Moshe Leiser and Patrice Caurier, Set designer-Christian Fenouillat, Costume designer-Agostino Cavalca, Lighting designer-Christophe Forey, Count Almaviva-Javier Camarena, Figaro-Vito Priante, Rosina-Daniela Mack, Doctor Bartolo-José Fardilha, Don Basilio-Ferruccio Furlanetto, Berta-Madeleine Pierard, Fiorello-Gyula Nagy (28/09/16)

Pesaro – Rossini Opera Festival 2015

IMG_3420Every year, The Accademia Rossiniana of Pesaro teaches young singers about the interpretation of Rossini who then all give their best in Il viaggio a Reims. Famous singers have passed through this Viaggio and it is delightful to hear young and motivated voices. This year there were those who sing well but whose voice is too weak to be properly heard, those who pronounce miserably and have a shrill voice, those who just sing well and you imagine them grow artistically. This year I thought Sunnyboy Dladia, Rubén Pérez Rodriguez and Federica di Trapani were promising. My personal favourite was Leslie Visco, who I thought sang very well with a clear pronunciation the role of Madama Cortese. The Filarmonica G. Rossini orchestra didn’t play well at all, at times out of tune and unsynchronized once or twice. The director also lacked in Rossinian spirit.

messaThe Messa di Gloria was created by a Rossini who was worried of the public opinion. This might explain the careful composition, the “borrowing” of a theme from an opera by Mayr and the help of a fellow composer, Pietro Raimondi. One of the most important witnesses of the Messa di Gloria, which was first heard in the church of San Ferdinando in Naples in March 1820, was Carl Borromäus von Miltitz, a minor composer present in Naples who hoped to be staged by Rossini on one of the Neapolitan theatres. Not entirely adverse towards Italian music first, his tone became more and more aggressive when realizing that his opera would not be staged (For the highly amusing article I refer to Reto Müller in La Gazzetta nr 22 of the Deutsche Rossini Gesellschaft). Florez sang very well and has a beautiful voice though I slightly raised my eyebrow on the troublesome and hard sounding florid passages of qui sedes ad dexteram patris. The radiant looking Jessica Pratt sang extremely well with a stronger middle register, soft pianissimi, marvellous crescendo, clean vocalises and a dramatic interpretation of the cantata in both recitive and aria. I didn’t hear the mezzosoprano until her solo part in the terzetto and then only until she was joined by bass and soprano. Her coloratura was sometimes so quick she arrived at the end before the phrase actually ended. The voice is not particularly beautiful. The comparison with the soprano, who sang the same phrase, in the terzetto was quite pitiless, repeating the impression I had in Wildbad. Mirco Palazzi sang with a splendid and noble timbre and Dempsey Rivera was a good second tenor in the Kyrie with Florez. Not much personality emerged from Donato Renzetti, neither in the Messa nor in the Gazza. Heavy direction and little or no nuances.

Inganno_Pesaro1L’inganno felice is a farsa composed for the Teatro San Moisé in Venice in 1812 and was one of the more successful of Rossini’s farse being frequently staged also outside Italy. Mariangela Sicilia and Carlo Lepore are both excellent. Beautiful voices, both convince with technical skills. Carlo Lepore is also perfect in action and pronunciation and achieves a tender and dramatic Tarabotto. If Mariangela Sicilia will make the right choices I am sure she will mature to an excellent career. UntitledVassilis Kavayas was slightly unripe in voice and didn’t convince much while Giulio Mastrototaro was only adequate as Ormondo. I found Davide Luciano as Batone simply superb: easy coloratura, beautiful voice, splendid acting and excellent pronunciation.  I certainly hope I will hear this promising young singer again. Graham Vick’s staging of 1994 has lost nothing of its freshness while the director Denis Vlasenko gives attention to details, and accompanies with elegance and grace.

gazza150815_640xLa gazza ladra was presented this year in the 2007 staging by Damiano Michieletto, who won the premio Abbiati in 2007 for best director. The staging is a transposition of the Gazza ladra plot into a modern version where the magpie is interpreted by a child who dreams the whole story. A touching staging, one of my favourite by the Venetian director, who, in most cases (in my eyes) fully grasps the spirit of the operas. From the original cast only Alex Esposito is present. And what a loss if he wouldn’t be. He sings and acts with talent interpreting a stirringly emotional father figure. René Barbera charms with a beautiful voice and adequate coloratura. Nino Machaidze sings with easy top notes and light coloratura but with a shrill-ish voice. Teresa Iervolino’s creamy voice fits the character of Lucia, and her gradual conversion from shrew to accepting mother-in-law, well. Marko Mimica gave the impression he is too concentrated to sing everything right, which slightly affected both musical and actorial performance, lacking in grandeur, but he contributed to the overall success of the opera. Peculiar choice was Lena Belkina, or whoever offered her the role of Pippo (and why did she ever accept it). Her voice shows clear difficulty in the first act where she struggles to reach the lower notes, which are hardly heard. Worse even, she “acts” funny to sing towards higher notes, which are sometimes screamed, sometimes out of tune because not able to descend. Very disappointing. She sang better in the duet of the second act. Orchestra and chorus were wonderful. Of Renzetti I have already spoken.

gazzetta150815_640xLa Gazzetta needs a entertaining show, able to grasp the Neapolitan humour, especially of Don Pomponio. And in Pesaro something went terribly wrong. Although glimpses of Naples were present with Don Pomponio’s dialect and the excellent mute role of Tommasí, the direction of Marco Carniti, although it had the benefit of making a rather confuse plot understandable, was nowhere near being amusing. The set follows the recent money-saving trend consisting mainly of tables and chairs, which do not much except rotating. Which is fine if the director had imagination and originality…. Big disappointment for me, who remembers the superlative staging of Dario Fo, which, although not being over-Neapolitan either, matched the whirling humour of the libretto. Musically on the other hand things went quite well with a cast which lived up to expectations. The recently found Act I quintet is charming. Enrique Mazzola directs a wonderful Orchestra del Comunale di Bologna. Hasmik Torosyan has a luscious voice, lovely pianissimi and an easy coloratura but I wish she didn’t force too much her higher notes. Maxim Mironov is a wonderful tenor, agile and mature, a delight to hear and see. Vito Priante took the role of Filippo and he did it with verve and musicality though the florid passages of his Act II aria are not all too fluid. Nicola Alaimo proved to be as convincing in dramatic as in comic opera. Doralice was finely sung by Raffaella Lupinacci and all other characters were also well interpreted.

Il viaggio a Reims (17/8/15) Direzione-Manuel Lopez-Gomez, Elementi scenic-Emilio Sagi, Costumi-Pepa Ojanguren, Corinna -Federica di Trapani, La marchesa Melibea-Shirin Eskandani, La contessa di Folleville-Kaori Nagamachi, Madama Cortese-Leslie Visco, Il cavaliere Belfiore-Sunnyboy Dladia, Il conte di Libenskof-Rubén Pérez Rodrìguez, Lord Sidney-Alessandro Abis, Don Profondo-Pablo Ruiz, Barone di Trombonok-Vincenzo Nizzardo, Don Alvaro/Antonio-Carlo Checchi, Don Prudenzio-Shi Zong, Don Luigino/Zeffirino/Gelsomino-Dangelo Fernando Dìaz, Maddalena-Cecilia Molinari, Delia-Carmen Buendia, Modestina-Salome Jicia

Messa di Gloria, Il pianto d’Armonia sulla morte d’Orfeo, La morte di Didone (18/8/15) Donato Renzetti, Jessica Pratt, Victoria Yarovaya, Juan Diego Florez, Mirco Palazzi, Dempsey Rivera

L’inganno felice (18/8/15) Direttore-Denis Vlasenko, Regia-Graham Vick, Scene e costumi-Richard Hudson, Progetto luci-Matthew Richardson, Isabella-Mariangela Sicilia, Bertrando-Vassilis Kavayas, Ormondo-Giulio Mastrototaro, Tarabotto-Carlo Lepore, Batone-Davide Luciano

La gazza ladra (19/8/15) Direttore-Donato Renzetti, Regia-Damiano Michieletto, Scene-Paolo Fantin, Costumi-Carla Teti, Progetto luci-Alessandro Carletti, Fabrizio Vingradito-Simone Alberghini, Lucia-Teresa Iervolino, Giannetto-René Barbera, Ninetta-Nino Machaidze, Fernando Villabella-Alex Esposito, Gottardo-Marko Mimica, Pippo-Lena Belkina, Isacco-Matteo Macchioni, Antonio-Alessandro Luciano, Giorgio-Riccardo Fioratti, Ernesto/Il Pretore-Claudio Levantino, Una Gazza-Sandhya Nagaraja

La gazzetta (20/8/15) Direttore-Enrique Mazzola, Regia e Costumi-Marco Carniti, Scene-Manuela Gasperoni, Progetto luci-Fabio Rossi, Don Pomponio Storione-Nicola Alaimo, Lisetta-Hasmik Torosyan, Filippo-Vito Priante, Doralice-Raffaella Lupinacci, Anselmo-Dario Shikhmiri, Alberto-Maxim Mironov, Madama La Rose-Josè Maria Lo Monaco, Monsù Traversen-Andrea Vincenzo Bonsignore, Tommasino-Ernesto Lama