Nicolò Ceriani / Reviżjonijiet

This year�s summer Festival in Verona honors star director Franco Zeffirelli by staging five of his productions: season opener Turandot, Aida, Carmen, Madama Butterfly, and Il Trovatore. This last production, which premiered in 2001 and was then revived in 2002 and 2004, featured a star studded cast, with Arena favorite Marcelo Alvarez in the role of Manrico and baritone Dmitri Hvorostovsky in his Arena debut and Italian role debut as his rival Count Luna. The two singers did not disappoint: Alvarez, arguably the best Manrico of his generation, was perhaps not at his best and had to force somewhat in the first duet with Azucena; the perilous high note of the cabaletta was perhaps not perfect, but the dynamics of piani and forti were excellent and his performance was compelling throughout. Hvorostovsky�s performance was flawless. His nicely colored baritone voice is not especially large, but it is perfectly projected by means of a reliable technique. His accurate diction and theatrical skills were appreciable even on the large stage of the Arena. The women were also excellent: Maranne Cornetti as Azucena is perfectly cast both for the role, which she masters completely, and for the Arena, given the size of her voice and despite some imperfect diction. Sondra Radvanovsky�s performance as Leonora was somewhat uneven. The soprano started with some problems, which made the sound of her voice unpleasant at the end of her first aria with a missed note on which she also lost intonation. However she recovered afterwards and was especially compelling in the death scene after which she deservedly received the biggest applause of the evening. As usual, Zeffirelli not only directed the stage action but also designed the opulent medieval sets. The large space allows the director to follow his taste and use a large number of extras with knights riding horses during the soldiers� chorus. The ballet music composed by Verdi for Paris was inserted in order to allow the dance company El Camborio to perform (in costumes that could as well be those they also use for Carmen, which is playing on alternate nights). Conductor Marco Armiliato was making his debut at the Arena, which was perhaps the reason he produced a smaller volume of sound than usual from the orchestra. This had the welcome consequence that the singers could be heard unusually well. The evening ended in a triumph for everyone.

We went to see Carmen at the Arena Di Verona. We had 'cheap seats' that is sitting on the marble steps at the top of this Roman arena...which is all part of the experience and why we chose them. Why sit in a comfy seat at ground level when you can do it like the Romans and have a fantastic view of the Opera and everyone else! We weren't advised this in advance. but whish we had been that you can actually take food and plastic bottles of anyy drink in with you (and at 5 euros for a can of coke you need to!!) There is a great value eatery in the square outside called Brek Brek but if we'd known we would have enjoyed taking a small picnic. Carmen was a 5 hour opera! the marble steps weren't too hard on the bottom and you can hire cushions at 3 euros which goes to the Red Cross, but you probably didn't need them (or maybe I just have a very comfy bottom!) however it is hard to lean back because of the depth of the steps so if you can borrow a pillow or the like to stuff behind your back particularly for the long operas this would be advisable (as long as no one is sitting behind you you should be ok) A wonderful experience and well worth it if it's your thing.