Recenzii de producție anterioare
19una scena colorata e fiabesca, in immaginifici costumi e nelle luci (il lighting design è di Emanuele Agliati) sempre appropriate.
Una fortunata commistione visiva, sempre ben accompagnata dalle perfette luci di Emanuele Agliati
Federica Vitali in the role of Geltrude proved herself to be an excellent comedy actress, really hamming up the role in fine style, and sporting a captivating hairstyle. Moreover, she used the role to show off her beautifully sounding soprano, which she used well in characterizing the role.
Tratteggiato perfettamente da Federica Vitali, il ruolo di Geltrude. Vocalmente totalmente aderente al personaggio, ha dimostrato di possedere un'ottima espressività anche dal punto di vista scenico.
The transposition of the opera was daring, not least because it involved the rewriting of most of the spoken dialogue, but for me it worked. The concept is that any war is comparable to any other, and so are class differences, gender stereotypes and moral dilemmas.
Nina Solodovinkova also brought a vibrant coloratura soprano to the role of Annetta particularly in her Act one aria. Here she used the line to her advantage as her soprano moved with great flexibility, her timbre melting from one phrase into the other; she also interpolated some potent high notes.
The vocal cast was of a good level. One must not look for the most interesting interpreters in Pietro, entrusted to Roberto de Candia's sure craft, or in Francisco Brito's Carlo, a correct but slightly bland tenor. Here the scene was stolen by the acting effervescence and the remarkable vocal presence of Marco Filippo Romano, a basso buffo who sang the exhilarating role of Ser Cuccupis, the local magistrate. Even the other basso, Tommaso Barea, was a very effective performer as the usurer Firman-Trombest, while Marcello Nardis gave voice to the character of Hondediski, a prototype for L'elisir's Belcore. Among the female performers, it was not the slender, though agile, voice of Nina Solodovnikova (Annetta) that excited, but Loriana Castellano and Paola Gardina, as Caterina and Madama Fritz respectively, to whom Donizetti devotes two masterful pages right at the end of the opera: to the Tsarina the aria “Pace una volta, e calma” with a noble Mozartian tempo, and to the innkeeper a scene with rondo “In questo estremo amplesso” of huge theatrical effect. In both numbers the two singers demonstrated expressive qualities and vocal preciousness that have given an extra dimension to their characters. For the staging of this rare title, Francesco Micheli, artistic director of the festival, summoned the Roman collective Ondadurto Teatro (Marco Paciotti and Lorenzo Pasquali), a company known for its interdisciplinary shows, ranging from nouveau cirque to physical theatre, from dance to gesture. On their debut in the world of opera, their juvenile zeal was appreciated. However it led sometimes to the excesses of a horror vacui (mimes, trapeze artists, video projections) which were often intrusive. In the scenery and in the costumes, the geometric and colourful elements of Russian abstract (Kandinsky and above all Malevič) were recognised, forcefully adapted to a story set in Peter the Great's Russia. The rigidity of the unusual costumes designed by K.B. Project did not restrict the freedom of the characters, but underlined their overall schematic pattern.
Donata D’Annunzio Lombardi (Antonina) and Annunziata Vestri (Irene) took their opportunities splendidly, with Lombardi contributing some ravishing singing in the final act even if her acting tended a little towards the stock gesture, while Vestri’s was a good all round performance. The males were perhaps not quite in the same league, although Dario Solari acted and sang Belisario with distinction and Andeka Gorrotxategui made what he could of Alamiro. The sets were simple but effective with grey brick columns and a backcloth often lit with different colours as the main features. The costumes seemed mainly to lean towards Roman with an occasional nod to the Middle Ages and the direction under Luigi Barilone served the purpose even if it was rather unambitious and one had to wonder whether this might have been because financial concerns had perhaps curtailed the rehearsal time available. Although the opera as a whole did not convince, certain scenes stood out: Irene and Belisario’s departure from the city, the recognition that Alamiro is the lost son and the subsequent trio and Antonina’s final act arias. While, it is difficult to see this opera ever getting regular performances, it is certainly worth an occasional airing and this enjoyable production will surely have boosted Bergamo’s efforts to become European capital of culture in 2019.
For the world premiere, in concert form, of the new critical edition of the Mayrian title,Münchner Rundfunkorchester , led by George Petrou's baton(also engaged in accompaniment to the fortepiano of the recitatives). Petrou conducted very well a score faced by the instrumentalists with the precision and rigor that have always distinguished their rehearsals. Just a little stiff, the sound, from time to time, as if to underline the more academic aspect of the composition. The cast of voices was barely equal to their respective roles. The tenor Mario Zeffiri(Polinesso) exhibits an approximate musicality, recognizable in particular in imprecise recitatives lacking intonation, as well as in the most difficult parts of his arias, where the agility is not perfectly focused. On the other hand, some rather successful acute extremes, More interesting is the performance of the mezzo-soprano Anna Bonitatibus, engaged in the difficult role of Ariodante. The Bonitatibus has on its side a slight guttural veil of the timbre that can be pleasant, if listened to in the parts originally entrusted to the castrati. The Geneva of Myrtò Papatanasiuit stands out for its beautiful musicality and for the pleasantly polite emission that characterizes its singing in the central and medium-high tessitura. Unfortunately, the high-pitched sector of the voice shows various hardnesses and fraying that interrupt the softness of the otherwise remarkable line. the baritone Peter Schöne in the role of the King of Scotland, of any issue and very difficult in the final section of his aria. The Lurcanio by Stefanie Irányihe is bold enough, but with a rather coarse voice and emission. Magdalena Hinterdobler (Dalinda) spoils all the recitatives with an Ostrogothic diction, but partially redeems herself in the aria that she realizes with impetus. Not incisive Marko Cilic in the small role of Vafrino. The performance of the Männerchor des Heinrich-Schütz Ensembles Vornbach was more than positive
The baritone Dario Solarinot a little pain in supporting the writing of his character. For Corrado, Donizetti reserves a treatment that is only slightly less "sadistic" than that given to Maria: the part is onerous, starting with the large entrance aria divided into three sections, where the very beautiful opening air requires from the singer a solid technique. Ivan Magrì(Enrico), confined to a wheelchair after the injury he suffered during the general rehearsal, appears considerably improved compared to previous tests. The voice is of good quality, the timbre has become more full-bodied and the emission more focused. Particularly noteworthy is the projection of sound over almost the entire range, while the musicality still seems far from optimal. Although the suffering was evident in some moments of the opera, the tenor was able to cope with the role, being effective above all in the execution of his own aria. Gilda Fiume gives the unfortunate Matilde a delicate timbre, suitable for the character, even if her interventions are a little feeble. In the part of Rambaldo, the young bass Gabriele Sagonahe carves out a respectable space, exhibiting a mellow voice, a voluptuously nocturnal color and a more than correct emission. The performance of the Chorus of the Bergamo M usica Festival is also beautiful , compact and precise, magnificently prepared by Maestro Fabio Tartari and from whose ranks the Chancellor of Francesco Cortinovis emerges positively . The costumes ofAngelo Sala , mostly inspired by the eighteenth century, boast the alternation between black and white and are enhanced by the neon effect lights by Claudio Schmid . Among the most appropriate looks, the big coats worn by the two hitmen in Maria's service stand out, whose menacing and shady cut brings to mind the poster of the film “The Pact of Wolves” by Christophe Gans
That is the slave Kaidamà, funny par excellence, as well as Eleonora (typical lyric soprano of agility) and Fernando (lyric tenor). The show, signed by the director Francesco Esposito transports the audience into a naive world that is not always consistent with the story, which makes use of some scenic ideas imagined by the Genoese illustrator and set designer Emanuele Luzzati , whose drawings and sketches (recently found) materialize on the scene thanks to the work of Michele Olcese . In fact, a scenography composed of a few scenic elements and several sliding panels, shaped and painted in bright and contrasting colors that recall a childish and playful world, evoking a typically tropical atmosphere, dominated by the green of the lush vegetation that stylistically refers to the works by the French painter Henri Rousseau. The scene is mostly full of light, supported by large deep blue backdrops, well highlighted by the skilful play of lighting by Bruno Ciulli, all in all it responds well to the funny and playful character of the story but completely omits the "serious" aspect of the same, Giovanni Di Stefano , head of the Bergamo Musica Festival Orchestra, conducts the score effectively, albeit without too many smudges, attentive and consistent to the sound rendering, rather than to the melodic line. Cardenio, the protagonist of the title, was the baritone Christian Senn , with an elegant voice, with a beautiful burnished tone and a convincing melancholy effect, supported by a good acting, measured and consistent with the character. His proof highlights very well the psychological introspection that Donizetti requires of this role and best examines the most serious and "furious" parts of it. At his side, the Eleonora of soprano Paola Cigna , with an elegant voice, technically suitable but rather small in volume and with a slightly worn central register. Federico Longhi , as Kaidamà, gives us a coherent image of the typical funny of the time, much more on a vocal than scenic level. Bartolomeo by Leonardo Galeazzi is effective from all points of view, while the soft and rounded voice that characterizes Marianna Vinci's Marcella is rather swallowed and devoid of colors . As always, the performance of the Bergamo Musica Festival Chorus, directed by Fabio Tartari, was excellent and efficient. Good success for all and great at the operation as a whole.
The story takes place in a land of Cremona. Two rich unrepentant bachelors, the brothers Don Cassandro and Don Polidoro, offer accommodation to the noble Hungarian officer Fracasso and his servant, the clever Simone. Fracasso falls in love with Giacinta, sister of the two terrazzani, while Simone seduces her maid, Ninetta. It will be the Baroness Rosina, sister of Captain Fracasso, the "simple feint" who will seduce the two bachelors in order to steal their consent to the wedding of the two couples of lovers. This staging was a great occasion for the students of the Donizetti Conservatory : the members of the Conservatory Orchestra played in the orchestra pit and 11 singing students were part of the Bergamo Musica Festival Choir. It was a significant event also because on Sunday 24 November there was the official representation in the billboard of the Donizetti Festival, after 6 performances for schools. Michele Varriale is a versatile pianist and composer. In the sacred field, commissioned by the Serviti di San Carlo, he set to music texts by Father Turoldo and directed the orchestra that performed them on the occasion of the anniversary of the death of the Friulian friar. Influenced in equal measure by jazz and blues, by classical music and popular melodies, with a style that without being "banal" manages at the same time to be "accessible" and "understandable" to a non-elitist public, he is also dedicated to writing chamber music, symphony, soundtracks and theatricals enjoying great success.
In this opera the tenor is assigned the role of Roberto Geraldini, a scheming and treacherous enemy of Tasso, and Giorgio Misseri’s portrayal was consistently well-drawn, if occasionally nasal in tone. Mezzo Annunziata Vestri made much of the somewhat ambiguous Contessa di Scandiano (also called Eleonora) and the bass Gabriele Sagona filled out the relatively short role of Alfonso II to authoritative effect. Stagings of other works belonging to the same genre, such as Ferretti and Rossini’s Matilde di Shabran, suggest that that the buffo roles in semiserious operas should not be underplayed. Here Marzio Giossi — who possesses a well-projected baritone but proved rhythmically fallible at times — offered a decidedly “straight” interpretation that narrowed the expressive range of the opera without really offering any new insights into the character. In other respects the production by Rederico Bertolani was conceived with some skill, although Tasso’s manhandling of the Duke which accompanies his denunciation in the second act finale (resulting in his imprisonment) required a certain suspension of disbelief. Period costumes (designed by Alfredo Corno) created the right sort of atmosphere within Angelo Sala’s sets, which played on symbolism — the stage floor was strewn with manuscripts — rather than realistic detail. Conductor Sebastiano Rolli — who used a performing edition of the score prepared by Alberto Sonzogni and based on a manuscript housed in the Brussels Conservatoire — paced the work rather well (if one excepts the patter passages, rhythmically fallible). The orchestral playing was reliable rather than inspired, but the Festival Chorus trained by Fabio Tartari impressed with its versatility and guaranteed crisp, colorful diction: particularly appreciated in this relatively unfamiliar work.
Christopher Franklin and the outsourced Orchestra I Pomeriggi Musicali di Milano gave a robust performance full of jaunty tempos and brio with small, charming idiosyncrasies. As Norina, Maria Mudryak wielded an ample, fresh, robust soprano with stunning projection and sustainment for "Quel guardo il cavaliere" and "Pronta io son". Agile in pinched waists and flared skirts, she flounced and capitulated tirelessly as the irresistible soubrette. Paolo Bordogna's masterful Don Pasquale carried a soft but full-bodied baritone with lush color and lithe lift over pristine diction. In gold brocade pajamas and wild, matte-textured hair, his Don was more theatrical than Rabelaisian. Stylish demeanor and authentic stage language polished overarching vulgarities. "Ah, un foco insolito" brought poise over quicksilver. Pietro Adaini's neat, clean-cut and earnest Ernesto was a brilliantine dandy in white knits and chinos of gentlemanly sports such as cricket and tennis. His low-color, high-vibrancy tenor was tamed into tranquil, poised exhortations such as "Sogno soave e casto" and "Povero Ernesto!". Sung from a vault rung in green hedges and a starlit sky punctured by a full moon, "Com’è genti la notte a mezzo aprile!" was remarkably tender and assured. Pablo Ruiz's Malatesta, in head-to-toe blueberry (including fur trim) gave a spirited, cohesive performance with "Cheti cheti immantinente" and "Bella siccome un angelo" sung in delicate, colorful shades and gorgeous line. During the curtain call, in an additional nod to Monroe nostalgia, "I Wanna Be Loved by You" played over the applause, an endearing cue. At Bergamo’s exquisite opera theater, where there's love, it's generous.
Fridman was powerful, Konu Kim gave a profound performance filled with different colors and emotions. No one could ever anticipate what Kim would do with the role as he first entered Act one, singing with a bright timbre and giving each phrase a smooth and delicate color. His phrases starting out with a piano sound and would eventually crescendo to a forte with smoothness and facility. That bright optimism could be seen in the aforementioned duet with Sylvia. While Fridman sang with delicacy and darker hues, Kim’s timbre contrasted with gleam, his high notes projecting beautifully into the hall. In the role of the King, Florian Sempey brought an imposing baritone to his character. From the start of the performance, he gave off an air of authority that started to weaken throughout the evening. In the his duet with Sylvia, Sempey brought a refined and controlled timbre that showcased his power over her. He forced Fridman into his arms undressing himself and insinuating forced intercourse. Overall the orchestra was solid but Tingaud sometimes indulged in slower tempi particularly in the ensemble strettas. It may have added to the drama to give more time to the ensembles but it seemed more French in style than the energetic Italian Bel Canto. The chorus led by Fabio Tartari was also part of the success of the evening. The changes in character that were conveyed showed their versatility. At the beginning they were boisterous, animated, joyful and prepared for a party, singing with unending energy. In the third act, the men’s chorus was gossipy, singing in a soft staccato as they were conspiring and entertaining themselves with the secret of Sylvia being the king’s mistress. In the final act the ensemble sang with an angelic tone, bringing the opera to a powerful and heavenly finale. Overall this was an unforgettable evening that thankfully has been recorded for release through Dynamic and presented Lidia Fridman and Konu Kim as promising figures in the opera world.
There were obvious additional challenges in the current environment. Instead of presenting Le nozze in villa in the newly renovated theater, the third Donizetti opera was presented online, filmed in a spectator-less opera house. Always following social distancing rules, director Davide Marranchelli and set designer Anna Bonomelli tried to take advantage of the situation, coming up with an imaginative mise-en-scène. The orchestra was placed on stage with the wind players behind a plexiglass screen. The auditorium was covered with green strips of artificial turf and, in a preamble to the performance. Le nozze in villa is the work of a young composer in the process of discovering his own path. The music does sound imitative, Rossini’s shadow looming high over the score (an aria sung by Nonna Anastasia, authoritative mezzo Manuela Custer, sounded very much like the one sung by Berta in Il barbiere di Siviglia). Nevertheless, vocal ensembles were well balanced and the orchestral music was beautifully shaped with noticeable woodwinds interventions. Switching around from accompanying recitatives at the keyboard to conducting with great verve, Montanari led with confidence the historically informed instrumentalists of Gli originali and the Donizetti Opera Chorus, even if the synchronization between singers and orchestra was not always perfect. Meritoriously, he easily brought forward both the sparkling spirit and the melodiousness of the score. The most accomplished of the evening’s soloist was mezzo Gaia Petrone in the role of Sabina. She displayed a full, rounded, mellifluous voice in several arias. As her love interest, Claudio, tenor Giorgio Misseri became more and more assured as the evening progressed. Voices occasionally shaky, the two baritones – Omar Montanari (Don Petronio) and Fabio Capitanucci (Trifoglio) – acted with confidence, navigating with panache through the convoluted plot.
Per il primo appuntamento del 2016 con un’opera del compositore orobico nella sua città natale, la Fondazione Donizetti ha scelto di rispolverare, per la prima volta in epoca moderna, l’opera buffa Olivo e Pasquale, nella versione andata in scena al Teatro Nuovo di Napoli nel 1827.
Comunque non è chiaro se si sia riso tanto per merito della coppia Rossi-Mayr o del regista Roberto Catalano, che avrà sì o no trent’anni e non li dimostra affatto. Il suo spettacolo in realtà è semplicissimo, scena fissa, nessun effetto speciale: ma tutti recitano da padreterni, le trovate sono continue, non c’è una gag che non vada a segno. Ne risulta una specie di commedia all’italiana piena di brio e d’ironia, di grazia e di divertimento: chapeau al regista ragazzino
