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Representation details:

Ariosi Management Sagl

Representation details:

Ariosi Management Sagl
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  • Repertoire (12)
Composer & WorkRoleProductions
Adriana LecouvreurAdriana Lecouvreur4
Andrea ChénierMaddalena di Coigny8



The Uruguayan soprano Maria José Siri was a refined Tosca, which highlighted the most seductive character and, especially in the love duet of the first act, light and childish of the protagonist, thus giving value to her voice, not very powerful. , but soft and with excellent sound projections. The rendering of "vissi d'arte" is very good and touching. The tenor Roberto Aronica plays a Mario Cavaradossi with prestige and confidence not only vocal, but also scenic. The only flaws were the sometimes not very controlled sound emission that made the voice engulfed, and in the end of the work, the slow kneeling that made the painter's death appear a faint rather than a firing squad by a firing squad. The Spanish baritone Carlos Álvarez is an exceptional Scarpia, who was given a real ovation complete with a bunch of flowers. His voice certainly does not strike for volume and power, but he has managed to build a character that borders on perfection: a Scarpia of rare elegance in the voice and stage presence, which imposes itself on all the other characters; a charming, intelligent, cynical, ruthless Scarpia; a Scarpia with attention to the smallest details such as, for example, when he applauds Mario's exultation at the news of Bonaparte's victory with a masked calm. The supporting actors are also excellent, starting with the pleasantly caricatured sacristan by Roberto Abbondanza, continuing with the Angelotti by Gabriele Sagona, the Spoletta by Luca Casalin, the Sciarrone by Nicolò Ceriani, the Carceriere by Lorenzo Battagion and the clear, melancholy and intoned voice of the shepherd. by Fiammetta Piovano. The Turin public enthusiastically welcomed this Tosca in a sold out hall, as many of the other performances of this production have been sold out.
Stefano Gazzera
The shades of gray-blue of the costumes - Elena Cicorella -, which stand out against a sober scenography - Saverio Santoliquido -, evocative and effective (essentially three panels that rotate on the stage create the various environments), with the beautiful cuts of light - Rainer Casper -, are the balanced background to the sublime Verdi music excellently performed at the Regio in Turin. Exceptional interpreters led by Gianadrea Noseda who in every direction is more and more amazing, more and more inspired, more and more in symbiosis with his orchestra which responds beat after beat with virtuosity and refined refinements. Here Othello is Gregory Kunde , who continues to surprise with his beautiful singing line: beautiful colors and always very exciting, he offers his singing with soft and pleasant roundness, precisely as an "offer". Erika Grimaldi plays Desdemona, a role certainly not easy for a young soprano, but she faced it with confidence, thanks to her voice with silver sparkles and a marked interpretative charge. Ambrogio Maestri is the perfidious Iago and the "consummate experience" has meant that the baritone has dug into the deepest and most insinuating folds of the character and his voice. The production has really made use of a cast of excellence so hints of merit should be addressed to the tenor Salvatore Cordella in the role of a highly credible Cassio, to Luca Casalin in the role of Roderigo, Seung Pil Choi , Emilio Marcucci and Riccardo Mattiotto . A particular appreciation to Samantha Korbey who outlined both vocally and actorially the character of Emilia. A lot of movement on stage thanks to a studied direction by Walter Sutcliffe , but obviously the music performed at such high levels as to think difficult to find elsewhere was the master.
Renzo Bellardone


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