Recenzii de producție anterioare
8Davide Amadei's scenic design consists of an inclined floor placed diagonally, a wooden parquet cut vertically in half to act as a curtain that, when raised, reveals an environment surrounded by walls in the pattern of an overwhelming wooden coffered ceiling. Costumes are evening dresses for the female characters while Orpheus is barefoot in a white suit and Apollo in a gilded outfit. Even more bizarre are those worn by Charon and Pluto. In Pizzech's direction the entrance of both Music and the Messenger are flatly realized while Charon's boat goes back and forth just a few feet to carry wild souls which, with their rumpus, divert the attention from Orpheus trying to sweeten Hades' ferryman. A full range of expressive modes is highlighted through a colourful, rich palette, both instrumentally and vocally. This makes Monteverdi's work a masterpiece still wholly enjoyable today.
The sinner Don Giovanni is an expert and easygoing Carlos Álvarez , who combines stage presence with a vocal power at the service of a mature character, a Don Giovanni who knows his stuff and does not have to prove anything to those around him. Brilliant and vocally fit, Mirco Palazzi's Leporello : witty anguished as much by the fate of his master as and above all by his own, it offers a vocal richness that goes far beyond its texture and a truly captivating interpretation. Among the victims of the dissolute, Erika Grimaldi's Donna Anna offers a heartfelt and heartfelt song, albeit with a particular voice that sometimes needs to open closed vowels to better direct the sound. The other seduced and also abandoned is a dynamicCarmela Remigio in the role of Donna Elvira: a whirlwind of a strong-willed and vindictive woman, who makes centers her strong point vocally, effective scenically. Anna's betrothed is a concentrate of sweetness and patience embodied in the tenor Juan Francisco Gatell . Being able to sing both of his arias in this production, for 'Dalla sua pace' he is literally 'lulled' by the orchestra giving a particularly incisive force to the words expressed. On the other hand, the agility as regards 'My treasure' in the second act can be perfected. Zerlina is a lively and by no means naive Rocío Ignacio , very breezy and who plays with his timbre the good Masetto of Fabio Maria Capitanucci . Finally, a great interpretation of the Commendatore byGianluca Buratto : his voice is wide and truly sonorous, which almost seems to dominate the orchestra when he sings in the pit as a statue. Maestro Daniele Rustioni conducts the orchestra of the Regio . Many colors of Mozart notes, precise and appropriate dynamics, maximum attention to the stage. The young conductor navigates safe water in the score and also seems to us to be in excellent feeling with the orchestra. In the most lyrical moments it is enriched with accents that almost move. Good performance by the choir directed by Andrea Secchi. Crowded hall, particularly satisfied audience with all the creators of the show, from the artists to the director.
María Rey-Joly, in the eponymous role, showed a mellow, lyrical soprano, which at the beginning seemed a bit empty in the middle register, but, in the second act, found a better foundation and richness. She was particularly effective in the larmoyant style, but she also approached the last difficult aria (“Da te solo”) with boldness, receiving great acclaim. Uberto, the father, was Markus Werba: his interpretation was full of emotion, and his bass well suited to the part, with good high notes and great support. Uberto has several madness scenes, inspired by Paisiello’s Nina; Werba was very effective, conveying his character’s madness without losing elegance and style. Edgardo Rocha was Ernesto, the unfaithful repentant lover; he had two of the most challenging arias, the second one (“Ah! Se il fato”) written by Paër for the famous tenor Marco Bordogni for the Paris debut of the opera. Rocha sailed through the coloratura and the high notes with his customary rock-solid belcanto technique. His voice found its place in the nose too often, but overall his performance was exciting. The director made a mockery of the character of Ernesto: he had an improbable blonde tuft and acted in an exaggerated and affected manner. Rocha was irresistible, his natural comic vein perfectly suited to this interpretation. Filippo Morace, as Don Pasquale, showed perfect style and a measured, elegant interpretation of the buffo character, although his voice lacked the projection required in the large Teatro Regio. Giulia Della Peruta was an adorable Vespina, her high soprano well suited to the spirited maid. The other singers rounded out the performance, contributing to a well-deserved success.
On stage an uneven cast found its peak in Hasmik Torosyan (Leïla), a bel canto soprano whose silvery timbre and flawless agility are well suited to a character that appear to be like Norma, the priestess who breaks her chastity vows, were it not for the much less tragic mood. There was a rather colourless performance from French tenor Kévin Amiel who for Nadir's aria “Je crois entendre encore” – brought to fame by voices like those of Enrico Caruso, Alain Vanzo, Beniamino Gigli, Alfredo Kraus or Nicolai Gedda – delivered a modest and reduced version, although using the mezza voce requested by the composer. Pierre Doyen, replacing Fabio Capitanucci as Zurga at the last minute, proved to be better. The French baritone has a bright timbre and he elegantly defined the nobility of spirit of the man who saves his friend from death and lets him run away with the woman he has always loved. With these two interpreters one heard impeccable French diction and not the rather loose one of the chorus. The quartet of performers was completed by Ugo Guagliardo's coarse Nourabad. Julien Lubeck and Cécile Roussat's staging swayed between tackiness and naivety. After rejecting a directorial idea that could give greater depth and humanity to the characters, the two directors chose a decorativeness that seems taken from those old Christmas cards with sequins glued to the edges of the figures. Sinuous frames make up a diorama flooded with blue, red and gold light where two-dimensional characters act. The idea of using mime to recreate the pantomimes that were fashionable at Bizet's time clashes with modern taste and when Leïla's replica swirls around the two singers during one of the most beautiful operatic duets, you want to close your eyes. Birds, adequately glittered, are moved by mimes during Leïla's aria in Act 1 and the ubiquitous acrobatic dancers were rather annoying. A fair amount of applause welcomed the end of the show.
The production, directed by Mario Pontiggia with sets and costumes by Francesco Zito, originated at the Teatro Massimo in Palermo. It is a stunningly beautiful, richly detailed re-creation of the three locations in Rome where the tragedy unfolds. The dresses of the heavily veiled women who crowded the church and Tosca’s second act gown and sparkling jewels, complete with tiara, were the most sumptuous of the costumes. When Tosca’s shadow suddenly appeared on the wall as she placed candles and a crucifix over Scarpia’s body, the man sitting next to me shuddered. It is of such details that memorable operatic performances are made. I have heard Marcello Álvarez many times, but never experienced him performing with such carefree abandon. Sleeker these days, he emanated a youthful energy but, more importantly, he made the audience see Tosca through his eyes: passionate, jealous and alluring. His Cavaradossi was vocally and dramatically impetuous and daring; as to the former, he may be throwing caution to the wind, but the result is thrilling. Ambrogio Maestri’s Scarpia can only be described as massive in temperament, voice and person, yet there was a delicacy to his performance. His Scarpia was a connoisseur of cruelty and capable of expressing it in the most subtle of manners, unless more drastic measures were needed. Oren had missed the first four performances of the run due to health reasons, but he was in fine form for these two. His verismo is the stuff of raw meat being thrown to the lions at one end of the spectrum and champagne at the other. His broadest musical brush strokes, as well as his most sensitive shadings, came from the orchestra and chorus, who responded brilliantly to the frantic beating of his baton and grunts and shouts that could be heard throughout the house. All of Rome may have trembled before Scarpia, but Oren can make the earth move.
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
Particolarmente atteso nella sua città natale, Andrea Carè ha affrontato con sicurezza il ruolo di Don José offrendone un’interpretazione convincente nel delineare una figura i cui rassicuranti valori etici e morali sono fatalmente messi alla prova dall’incontro con una passione autentica e travolgente. Un percorso di caduta nell’abisso dei sentimenti umani nel quale il tenore ha avuto modo di palesare la propria solidità tecnica e l’attenzione alla resa emotiva del personaggio. Carè è stato particolarmente sensibile alle sfumature del canto e nella resa degli accenti melanconici del giovane caporale dei Dragoni (soprattutto nel duetto del primo atto con Micaela). Oltre a ciò, il tenore ha sfoggiato un’emissione sempre fluida, ben modulata nelle mezze voci (come è avvenuto per “La fleur que tu m’avais jetée”) e correttamente focosa nel drammatico confronto finale con la protagonista.
A Pietro Adaini, Elvino, va riconosciuta la luminosità dello squillo nel registro acuto – con tanto di re in «Ah! Perché non posso odiarti» –, a cui talvolta approda però con troppo impeto, inficiando la continuità della linea di canto, già velata da suoni leggermente nasali nella tessitura centrale. Lo spirito bonario, quasi sempliciotto, del ricco possidente, tuttavia, trova nell’ardimentosa espressività un ottimo canale di sfogo e il personaggio, in fin dei conti, è convincente.
