Tidigare produktion recensioner
7One of the titles of the great bel canto repertoire returns to Palermo after many years of absence with an international cast of great prestige: for the new season of the operas of the Teatro Massimo in Palermo, Gaetano Donizetti's "Roberto Devereux" is staged , the great opera that sees protagonist Queen Elizabeth I of England. The opera, which was performed in Palermo only in 1994 at the Politeama Garibaldi under the direction of Gianandrea Gavazzeni, is staged from 29 April to 7 May in the staging of the Welsh National Opera under the direction of Alessandro Talevi and the sets and costumes. by Madeleine Boyd. On the podium Roberto Abbado, who returns to direct the Orchestra and Chorus of the Teatro Massimo in Palermo after the Mahlerian concert last March. The absolute protagonist in the role of the English queen - a role in which singers such as Montserrat Caballé, Leyla Gencer, Beverly Sills, Edita Gruberová, Raina Kabaivanska and Mariella Devia have ventured - is the soprano Maria Agresta , who will sing the part for the first time in Paris just before the performances in Palermo, always under the direction of Roberto Abbado. Her rival Sara is played by mezzo-soprano Vasilisa Berzhanskaia, a rising star of the international scene, while in the performances of April 30 and May 6 the role of Elisabetta passes the baton to Davinia Rodriguez and that of Sara to Chiara Amarù from Palermo. "Roberto Devereux" is a lyric tragedy in three acts composed on a libretto by Salvadore Cammarano, based on the tragedy by Jacques-François Ancelot "Elisabeth d'Angleterre" and together with "Anna Bolena" and "Maria Stuarda" is part of the so-called "Ciclo of the Tudor Queens "by Donizetti. The staged story is inspired by the relationships (real, but also fictional) between the Earl of Essex, Robert Devereux, and Queen Elizabeth I of England. Or better,his love for the Count is no longer reciprocated . Devereux, in fact, has fallen madly in love with the beautiful Sara, wife of his best friend the Duke of Nottingham, who reciprocates by unleashing the ire of Elizabeth who, having learned of an alleged betrayal of the crown by the Earl of Essex, in a vortex of conflicting emotions and feelings finally decides to sentence him to death.
Hervorragendes Schauspiel: Peter Bording ist ein in Baritonsaft stehender und singender Rigoletto von extrem hoher Emotionalität [...]. Vokal orientiert er sich dabei manchmal sehr an der "veristischen" Sangesmanie, das macht zwar Effekt, doch wenn man die Intensität der Darstellung noch mit einer etwas belkantistischen Ausformung des Gesanges verbinden würde, wäre es stupend, zuzutrauen wäre es ihm.
Da ist ein stimmlich umwerfender Peter Bording, der den Rigoletto mit der Schönheit seines warmtönenden Baritons singt und trotzdem den verzweifelten Charakter des verlachten Parteigängers der Macht deutlich macht. Verstrickt in die Intrigen des Duca, kann er nicht mal seine eigene Tochter Gilda vor dessen Zugriff bewahren. Ergreifend, wie er mit ihr, der Geschändeten, weint.
Die packendsten Momente schaffen die Sänger. Wenn Peter Bording als John Proctor mit weich flutendem Bariton zur großen Selbstrechtfertigung ausholt, der kernige Ton seiner wiedererwachten Ehre Ausdruck gibt und er in kraftvollem Strahlen noch einmal dem Orchestercrescendo standhält: Hier stehe ich und kann nichts anders. Blackout, ein Aufrechter ist zu Fall gebracht. [...] Gut mitvollziehbar ist die Produktion in jedem Fall, dank der Sänger geht sie phasenweise auch unter die Haut. Viel Applaus und Bravos.
The demanding vocal parts of "The Crucible" were all sung very well. Dutch baritone Peter Bording shows the troubled character of John Proctor superbly. His voice has a brilliant top and his interpretation of the aria "I 've forgotten Abigail" in the second act was beautiful. (translated from the Dutch original)
