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Ariosi Management Sagl

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Ariosi Management Sagl
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maskKultuuriorganisatsioonilt / Operabase'i poolt kontrollitud

mask Artistilt / agendilt


mask Artistilt / agendilt

  • Repertuaar (24)
Helilooja ja töörollLavastused
9. Sinfonie in d-Moll op. 125Conductor1
La sonnambulaConductor9




If you perform Puccini, and Tosca even more, you’re sure of success. The Theatre Comunale di Bologna makes this choice to close the 2017 season, and they guarantee a sold out show and applause by choosing the masterpiece of the genius of Lucca. Originally, it should have been Aziz Shokhakimov as the conductor, but later they decided to call Valerio Galli. He’s an expert on Puccini. Yes, we know, there was good singers also, but the quality of the orchestra’s sound, the timbre research, and the beautiful theatre’s choir deserve a standing ovation just for him. Furthermore, the orchestra and the choir were capable of doing amazing things–the cohesion between musician and singers in front or behind the stage was remarkable–and we know how hard Puccini’s score is. The rest of the show was not so good. Rudy Park was the Cavaradossi character. The Korean tenor was terrific, with his dark voice, he looked like a baritone with a tenor range, and he had a prodigious vocal technique, homogeneous in both the high and the low pitch, expressive both in the piano and in the forte, but unfortunately the audience did not seem so enthusiastic at the end of E Lucevan Le Stele. Do you remember when a famous tenor of the past brought the house down? None of this. It was a simple applause, just because now we are accustomed to applauding. What a pity, as he had such a beautiful voice! A great singer and wonderful actress was Svetla Vassilleva. She was at first capricious, then passionate and overwhelming, and finally tragic. Tosca wore a splendid red dress at first, then a flowered dress, which brought out charm and beauty. With a soprano, the audience wants to dream. Vissi d’Arte was perfect, strong, and passionate. Too bad, as the audience was too quiet that night, and distracted by Christmas shopping, the applause wasn’t loud enough. Gabor Bretz was Scarpia, and his makeup looked like a vampire’s. As Scarpia (the bad guy of the story), he was very tall, and his presence aroused terror at the sight only. A perfect actor for that role, Scarpia’s costume resembled a 20’s Italian style uniform, like that of the policemen. His interpretative ability and his stage presence were quite extraordinary. His voice was probably the better of the show, and his character is the one who most convinced the audience. The set design and direction did not impress the spectators. The costumes were 20’s style for some characters, timeless for others. High, white columns, a large rotating platform, and video projections are the key elements of the stage design, which symbolize a Rome, not so realistic. Stylized Roman architecture set the stage. It is like a card game, it’s something that always works. Regret remains, as we see Tosca die of heartbreak. It’s not better, if she, chased by the cops who find the corpse of Scarpia, shouts “O Scarpia, forward to God!” throwing herself from the castle ramparts. I think the audience will always wait for this, and when there is not a little bit of disappointment, it is always perceived (even in this show performed one week before Christmas). In conclusion, it was a good show without twists, but can Tosca one day surprise us again?
A sign of the times. Oliver Mears, Covent Garden’s director of opera, takes the stage not to advise of an indisposition but to announce that the chorus, perfectly understandably, would be wearing masks. A scattering of boos is countered by applause from a largely masked audience, grateful for the risks taken by all the performers. In the event, the problem with the chorus (who sang superbly despite their facial obstructions) was not the masks but the feeble direction they are given in this revived 2013 production by Daniele Abbado (son of conductor Claudio). When Abigaille, the putative elder daughter of Nabucco, King of Babylon, sweeps away in Part 2 to seize the throne, her followers troop off neatly in single file after her. Similarly in Part 3, the followers of Baal, usually thought of as an unruly mob, leave the stage in orderly fashion after the opening chorus. The principals too are ranged across the stage at the end of Part 1 to stand and deliver to the audience in the manner of the bad old days. As for what the catatonic onlookers are doing during the confrontation of Abigaille and Nabucco in Part 3, it’s anybody’s guess. Later, prisoners are gently rolled out of blankets with touching regard for their well-being, while Baal’s idols are not so much smashed as lowered to the ground like priceless exhibits. It’s a pity because there’s a germ of an idea here. The power struggle between the Babylonians, Hebrews and followers of Baal could have been insightfully anatomised had the stage choreography been more convincing. The grey slabs of the Hebrew temple at the beginning (designer: Alison Chitty) suggest both the tombs on the Mount of Olives and, perhaps, the Berlin Holocaust Memorial, evoking persecution down the centuries. The celebrated Chorus of the Hebrew Slaves is movingly staged: the exiles cluster in a circle for protection. They could be slaves, migrants, oppressed people of any era. But this is a solitary wave of competent direction in a sea of ineptitude. Fortunately the evening is largely redeemed by some terrific singing. The Mongolian Amartuvshin Enkhbat elicited exceptional empathy with Nabucco’s despairing prayer in Part 4, while Liudmyla Monastyrska as Abigaille, formidable for most of the opera, hurling out the thunderbolts of the revenge of which she sings in her opening aria, also managed to touch our hearts as, dying, she finally begs for mercy.
Evening standard


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