Predchádzajúce výrobné recenzie
15Da par suo il protagonista, Shanul Sharma incarna con un rigore evidente e un’ottima voce il re Mitridate.
non trovando un interprete per il ruolo eponimo, terribilmente impegnativo, è stato convocato il tenore indiano Shanul Sharma, figura canora di ragguardevole spessore, stilisticamente informata, dal fraseggio eloquente.
Originally, Giurgola had devised her interpretation for its premiere in the gardens of Vicenza’s Teatro Olimpico, in which she could take advantage of the greenery and delightful flowers, as well as the wonderful edifice of the old theatre. As it happened, it transferred easily to the small stage of Cavarzere’s theatre, which was bedecked with flowers. Having the musical quartet seated on the stage also added to the intimacy of the presentation. Nor did Giurgola lack the necessary imagination to bring the narrative alive, in what was a colorful, elegant staging full of movement, underpinned by an interesting reading of the text and supported by the excellent costume designs of Daniela Boscato. Giurgola’s focus was on the political context of the time in which “Le Grazie Vendicate” was written, a time when Austria was and would become further embroiled in a series of bloody wars, in which violent passions were given free rein, and Man became distracted from peace and prosperity. In response, the Graces weave their white flowers of peace and inaugurate a new god. It was a clever interpretation and worked well. The Graces were dressed in red, symbolizing the blood of mortals that runs so freely when Cupid’s arrows, now tipped with a poison that allows the passions to run uninhibited, enter men’s hearts. The new goddess from the river Ganges is a god of peace, symbolized by her costume which was white with a rainbow skirt. Giurgola’s choreography was also aptly developed, with the Graces frequently taking up poses as depicted in the works of great artists over the centuries. Often, their movement was very lyrical in its conception in which they also occasionally performed simple but elegant dances. The bedecking of the new goddess with flowers was beautifully done so that she became the center of attention, her elevation clearly displayed. [...] It was, however, Guirgola’s impressive direction that was largely responsible for its success. She took what is a simple, and in many ways uninteresting narrative, which could have easily led to a dull theatrical experience, and successfully brought it to life.
Gianluca Andreacchi un Masetto viscerale, vendicativo, umano, vittima in balia di Don Giovanni rimane realistico, attuale di grande impatto sopratutto nella scena d' ardor con Zelina stupenda, struggente quasi drammatica nella sua intensa tenerezza.
il Masetto di rustica comunicativa, molto adatta al personaggio, di Gianluca Andreacchi
[…]mentre Caterina Meldolesi disegna una Cabri di dolcissima purezza, complice l’intrinseca preziosità del timbro e la morbida e pastosa linea di canto.[…]
The title role of Juditha was placed in the hands of the 24-year-old soprano Caterina Meldolesi. That she was to an extent dwarfed by the performances of Vivica Genaux and Sara Mingardo was neither surprising nor a major criticism: in fact, there was plenty to admire in Meldolesi’s performance. She possesses a securely grounded voice with a pleasing tone which she used with ability to successfully characterise the role. In her opening aria, “Quocum Patriae me ducit amore,” she immediately showed off her fine vocal control, delicate phrasing and the appealing timbre of her voice. In the aria, “Veni me sequele fida,” accompanied by the fluttering sound of a flute, her sensitive connection to the text enabled her to produced one of the most charmingly delivered pieces of the evening. Later, while Holofernes sleeps, Juditha takes his sword and beheads him, which she gives voice to in the aria, “In somno profundo” and the in following accompanied recitative, “Impii, indigni Tiranni” in which she produced an expressive performance, accenting and coloring the voice with skill, and displaying versatility.
Da parte loro, i giovani interpreti hanno avuto il merito di gestirsi autonomamente sotto il profilo scenico, mancando una regia vera e propria. E ci sono riusciti molto bene, grazie a una recitazione spontanea, vivace e senza cadute di gusto. Lorenzo Barbieri ha sostenuto sia il ruolo di Pantaleone che quello di Don Carissimo, il maestro di musica, con una vocalità ben timbrata in zona medio-grave, caratterizzando con fraseggio e accento adeguati entrambi i personaggi.
