Mariasole Mainini / Critiques

On the podium, Speranza Scappucci seemed rather anxious to keep the ranks of the comedy. The conductor, very focused on the voices, paid little attention to the balance of the sections (in particular that of the eardrums) with an often muscular direction (as in the overture) but not very lively in the colors. In addition to this we have noticed a frequent disconnect between orchestra and singers, especially during concertos. The best of the evening seemed to us the Count of Simone Alberghini , fully convincing in the haughty and contemptuous clothes of the aristocrat. We liked the baritone for his vocal sumptuousness perfectly deployed in the vehement and angry invective of " You have already won the case ". Paola Gardina has sacrificed the adolescent and jaunty character of Cherubino to outline a rather static mannequin, the personification of Rococo mannerism now close to dying. A reading, probably conditioned by the directorial approach, which has made the ambivalent character of the page discolored, even musically. The Marcellina by mezzo-soprano Manuela Custer is of absolute quality . Without running the risk of appearing excessively spooky, the singer was able to be gently winking and witty in the role of the mature pretender to Figaro's love. Crystalline the stamp of Maria Grazia Schiavo who interpreted a scenically easy but weak character Susanna (rather weak the sensuality of the extraordinary aria " Deh come, non tardar "). The other voices are substantially appreciable: the authoritative Bartolo by Fabrizio Beggi , measured and refined in singing, the pleasant and already expert Barbarina by Mariasole Mainini , the intriguing and affected Don Basilio by Saverio Fiore.and Joshua Sanders' Don Curzio . The well-prepared choir performed by Andrea Secchi , the new master of the Regio's formation, was positive . At the end, the audience, conspicuously falling between the second and third act, warmly greeted all the performers.