Francesca Di Sauro / Rezensionen

The last few performances of Umberto Giordano’s Andrea Chénier revival saw the much expected visit of star tenor Jonas Kaufmann, who replaced Yusif Eyvazov in the title role. In spite of limited rehearsals, the singer adapted perfectly to the production and was very compelling theatrically. The vocal performance was somewhat uneven, with a positive start in “Un dí ll’azzurro spazio” and an even better end in “Come un bel dí di maggio” and then in the final duet. In the course of the performance he sounded at odds in “Ora soave”, which he started in pianissimo, a choice that turned out to create problems for his emission. At his side, soprano Sonya Yoncheva, who sang in all of the performances, proved to be more than adequate as Maddalena di Coigny, changing her interpretation from the cheeky girl of the first act to a more mindful young woman in the rest of the opera. Vocally she displayed a firm middle range and a well tuned high register, while in the lower range the voice changed color and the emission sounded forced.

Francesca Di Sauro , who is a mezzo-soprano, is here called to test a decidedly soprano part. He disengages himself with style and exquisite musicality in his arias; in the second, “Gentil parlar con proprio cantar”, he manages to solve with a beautiful timbre the staked notes and blooms that, here as elsewhere, the part requires. He does it with class, stage presence with charming and charming feminine features and earns all the merits necessary to make his Vespetta a well-rounded character. Marco Filippo Romano, who is at the comic opera as sun and sea are integral parts of the Neapolitan landscape perspectives, is a Pimpinone that the show presents almost as a greedy Jew in a sharp white beard; truly memorable is the interpretation offered by the now well-established Sicilian funny baritone, irresistible when he intones the aria of the third act "I know what you say, I know what you do", in which he sings alone as if he were in a "trio" in to which he imitates with a well projected falsetto voice two wives who confront each other complaining about the tyranny of their husbands. Francesca Di Sauro , who is a mezzo-soprano, is here called to test a decidedly soprano part. He disengages himself with style and exquisite musicality in his arias; in the second, “Gentil parlar con proprio cantar”, he manages to solve with a beautiful timbre the staked notes and blooms that, here as elsewhere, the part requires. He does it with class, stage presence with charming and charming feminine features and earns all the merits necessary to make his Vespetta a well-rounded character. Marco Filippo Romano, who is at the comic opera as sun and sea are integral parts of the Neapolitan landscape perspectives, is a Pimpinone that the show presents almost as a greedy Jew in a sharp white beard; truly memorable is the interpretation offered by the now well-established Sicilian funny baritone, irresistible when he intones the aria of the third act "I know what you say, I know what you do", in which he sings alone as if he were in a "trio" in to which he imitates with a well projected falsetto voice two wives who confront each other complaining about the tyranny of their husbands.

Nei ruoli minori si sono ben disimpegnati Massimiliano Mandozzi (Don Prudenzio)...