Alessio Verna / Recensioner

This year�s summer Festival in Verona honors star director Franco Zeffirelli by staging five of his productions: season opener Turandot, Aida, Carmen, Madama Butterfly, and Il Trovatore. This last production, which premiered in 2001 and was then revived in 2002 and 2004, featured a star studded cast, with Arena favorite Marcelo Alvarez in the role of Manrico and baritone Dmitri Hvorostovsky in his Arena debut and Italian role debut as his rival Count Luna. The two singers did not disappoint: Alvarez, arguably the best Manrico of his generation, was perhaps not at his best and had to force somewhat in the first duet with Azucena; the perilous high note of the cabaletta was perhaps not perfect, but the dynamics of piani and forti were excellent and his performance was compelling throughout. Hvorostovsky�s performance was flawless. His nicely colored baritone voice is not especially large, but it is perfectly projected by means of a reliable technique. His accurate diction and theatrical skills were appreciable even on the large stage of the Arena. The women were also excellent: Maranne Cornetti as Azucena is perfectly cast both for the role, which she masters completely, and for the Arena, given the size of her voice and despite some imperfect diction. Sondra Radvanovsky�s performance as Leonora was somewhat uneven. The soprano started with some problems, which made the sound of her voice unpleasant at the end of her first aria with a missed note on which she also lost intonation. However she recovered afterwards and was especially compelling in the death scene after which she deservedly received the biggest applause of the evening. As usual, Zeffirelli not only directed the stage action but also designed the opulent medieval sets. The large space allows the director to follow his taste and use a large number of extras with knights riding horses during the soldiers� chorus. The ballet music composed by Verdi for Paris was inserted in order to allow the dance company El Camborio to perform (in costumes that could as well be those they also use for Carmen, which is playing on alternate nights). Conductor Marco Armiliato was making his debut at the Arena, which was perhaps the reason he produced a smaller volume of sound than usual from the orchestra. This had the welcome consequence that the singers could be heard unusually well. The evening ended in a triumph for everyone.

We went to see Carmen at the Arena Di Verona. We had 'cheap seats' that is sitting on the marble steps at the top of this Roman arena...which is all part of the experience and why we chose them. Why sit in a comfy seat at ground level when you can do it like the Romans and have a fantastic view of the Opera and everyone else! We weren't advised this in advance. but whish we had been that you can actually take food and plastic bottles of anyy drink in with you (and at 5 euros for a can of coke you need to!!) There is a great value eatery in the square outside called Brek Brek but if we'd known we would have enjoyed taking a small picnic. Carmen was a 5 hour opera! the marble steps weren't too hard on the bottom and you can hire cushions at 3 euros which goes to the Red Cross, but you probably didn't need them (or maybe I just have a very comfy bottom!) however it is hard to lean back because of the depth of the steps so if you can borrow a pillow or the like to stuff behind your back particularly for the long operas this would be advisable (as long as no one is sitting behind you you should be ok) A wonderful experience and well worth it if it's your thing.

Antonio Poli is a rightly bold and pleasant Pinkerton, he boasts a beautiful timbre and a good solidity of emission: he approaches the lieutenant of the Navy with enthusiasm to enhance his boastful arrogance, he faces the duet with an excited phrasing to emphasize that the text uttered there is governed only by the ardor of the pelvis, he finally sings "Addio, fiorito asil" with a hint of sincere emotion, also exhibiting beautiful half voices there. Alessio Verna, usually listened to in smaller parts alongside, with Sharpless has the opportunity to highlight a baritone instrument of beautiful color and good volume which, combined with good acting and musical skills, helps the construction of a very multifaceted character . Excellent Suzuki Koberidze while Didier Pieri, in the role of Goro, he proves to have a disciplined voice engaged in very elegant singing. Welcomed by warm open-stage applause in the closed-mouth choir-interlude, the Chorus of the Teatro Regio di Torino confirms that it is an excellence of the Turin institution. The cast is correctly completed by Franco Rizzo (imperial commissioner), Roberta Garelli (Kate Pinkerton), Sofia La Cara (Butterfly's son) and the actor Yuri D'Agostino who, in the narration of the story, embodies Giacomo Puccini. At the helm of the Orchestra of the Teatro Regio in Turin Pier Giorgio Morandi behaves diligently. Of course, in a show where the music proceeds intermittently, constructing a complete and complete speech, getting an idea and giving an idea of ​​one's own reading of Butterfly is difficult, if not impossible - especially in a twentieth century opera where they fail. closed numbers -, however in the isolated interventions one cannot fail to recognize the expert hand of the concertmaster who knows how to keep an eye on the pit and stage without renouncing the construction of functional atmospheres for the dramatic moment. Finally, the show, already presented to the public in Piazza San Carlo several years ago. On the cuts, inevitable due to the nature of the show that has been chosen to offer, we overlook - among the various renunciations, the "flower duet" could however be saved -. The direction Vittorio Borrelli, with scenes by Claudia Boasso and costumes by Laura Viglione is essential if not reduced to the bone: this peculiarity, however, helps Vittorio Sabadin's already well-directed adaptation to focus mainly on the human drama of Butterfly, to speak without laughter of sex tourism - in this regard, how can we forget the magnificent show by Michieletto born at the Regio itself -, without giving much attention to that oleography of a manner that often suffocates and leads to misunderstand this masterpiece