Teatro Regio di Torino / Critiques

Irina Bogdanova, soprano, anch' ella fa parte degli Artisti del Regio Ensemble, è una convincente Kate Pinkerton capace di evidenziare molto bene l'obiettivo per il quale è giunta in Oriente, ossia quello di portare via a Madama Butterfly il figlio di suo marito, ma anche capace di sfoderare una certa sensibilità materna nei confronti della madre del bambino rendendosi conto dell'enorme sacrificio che chiede alla protagonista dell'opera.

"With Mark S. Doss, the cast includes one of the most beautiful voices that I can imagine in the title role… Full of innumerable colors, timbre, his voice has a unique harmonic richness that creates an irresistible attraction for this character…. Restrained in his gestures, with his large, warm and captivating voice, Mark S. Doss expresses marvelously the weariness of the eternal wandering Dutchman."

The sets and costumes by Paolo Ventura are made with impeccable attention to detail, as well as the lights designed by Andrea Anfossi , very skilled in gradually and inexorably darkening colors and shades during the final scene in which the double murder takes place. Nicola Luisotti , at the head of the Orchestra of the Teatro Regio , keeps the well-known propensity towards dense and magnificent sounds at bay, this time favoring the phrasing of the instrumental and giving shape, page after page, to a reading of the score that turns out to be distinctly theatrical. Andrzej Filończyk is an excellent Silvio. The very young Polish baritone (he was born in 1994) is striking for the clarity of his diction - and it is depressing for me to note that, in this context, it is the foreign cast members who hold this record - and for a vocal line of rare clarity. Erika Grimaldi has a soft and very well emitted soprano voice in acute, where the timbre becomes pearly and seductive. On the other hand, the central register is less fascinating and, moreover, something in terms of volume and sound presence is lost in the drapery of Leoncavallian orchestration. Juan José de León's Peppe is very good (voiced by a mime in the acrobatics and acrobatics of an acrobat) which is produced in an impeccable serenade. The performance, musical but also acting, by the Chorus of the Teatro Regio and the Children's Chorus of the Teatro Regio and the “G. Verdi ” , both prepared by the priceless Claudio Fenoglio .

There are countless pictorial images and symbols in Emma Dante's staging, where great theatre alternates with other moments of over-the-top crazed Baroque. Few stage props are used: in addition to the thrones in various sizes already mentioned, there are gates shaped like crowns, in different sizes, lowered from above to cage the characters. The predominant colours are black and red, while the costumes, very long furs in Cruella de Vil style, give an even more barbaric and bloody touch to the two main characters, here portrayed by a stylistically diverse but convincing couple. Dalibor Jenis has a strong stage presence and a very personal voice with some stifled or throaty notes that proved to be effective in defining the character. Vitalij Kowaljov was an effective Banquo while Macduff's unique but sublime aria "Ah, la paterna mano" was beautifully sung by Piero Pretti. This unique oasis of compassion in such a bloody plot delighted the audience before the finale where, differently from the Palermo version where it debuted a few months ago, Gianandrea Noseda justly eliminated the final chorus. Here the very last notes were those of Macbeth's death. Another credit to the conductor was his bold and full-colour performance, without however neglecting the most musically intense moments (such as the wonderful bassoon solo in the Sleepwalking Scene) or the hanging notes of "Patria oppressa", an unforgettable scene where the chorus was in the background, their faces are barely visible, and at the proscenium stretched dead bodies, covered in white cloth, an image of disturbing current events. Yes, opera is always up to date.

The production, a joint enterprise with Palermo’s Teatro Massimo and Macerata’s Sferisterio, focused exclusively on the protagonists, with very limited sets, especially characterized by dark lightning or deep red shining backgrounds. When Macbeth comes on stage he is riding the skeleton of a horse. The witches in grayish clothes surround him and Banco interrupting their frenzied dance. Baritone Dalibor Jenis as Macbeth forced his voice at certain moments, and sounded tired at the end. Bass Marko Mimica was an unimpressive Banquo. More compelling was tenor Piero Pretti as Macduff. The best on stage was certainly soprano Anna Pirozzi, a temperamental Lady with a ringing top range. The chorus also gave a very compelling contribution, especially the women’s section with their double role of courtesans and witches. The audience was generous in applause for all singers and for the last minute conductor, with a real ovation for Pirozzi

Given the two decades that divide its creation and the later revisions, Macbeth is far from a musically homogeneous work – something emphasised here as Noseda mixes liberally from the two versions. It’s a disparity that finds its visual analogue in the production. Scenes of high camp – jauntily marching soldiers and tumblers – contrast with moments of stark simplicity, particularly the act 4 opening chorus of exiled Scots lamenting the fate of their homeland. While there are some striking ideas: the crucifixion imagery following Duncan’s murder, there are also misjudgments: the automaton hospital beds following Lady Macbeth around during the sleepwalking scene. Given the two decades that divide its creation and the later revisions, Macbeth is far from a musically homogeneous work – something emphasised here as Noseda mixes liberally from the two versions. It’s a disparity that finds its visual analogue in the production. Scenes of high camp – jauntily marching soldiers and tumblers – contrast with moments of stark simplicity, particularly the act 4 opening chorus of exiled Scots lamenting the fate of their homeland. While there are some striking ideas: the crucifixion imagery following Duncan’s murder, there are also misjudgments: the automaton hospital beds following Lady Macbeth around during the sleepwalking scene.

tage director Claus Guth focused on the passionate love story between the two, and highlighted its intimate facet by setting the action in a 19th century high-middle class apartment. Isolde wakes up in the morning in her bedroom to the nicely sung outside melody, and asks to see Tristan. The sets, designed by Christian Schmidt (who also took care of the costumes), featured a revolving structure that showed the elegantly furnished rooms of the apartment. In this way, the director was able to add some action to this otherwise quite static opera. Five hours has elapsed, and while part of the audience had left the house earlier, there were still enough spectators left to pay a big tribute of applause to all the cast members, who had accomplished the deed of bringing back Wagner’s masterpiece to Turin after a ten-year absence. And this was indeed deserved. For Maestro Gianandrea Noseda this was the first Tristan. The conductor prepared with great care for this debut, and worked out all the details with the orchestra of the Teatro Regio, which played with commitment and produced a compact, vibrant sound. The chorus, instructed by Claudio Fenoglio, contributed to the success of the performance.

The Turin Teatro Regio production has two reliable casts. On the evening of the first performance, the role of the bloated knight was assigned to Carlos Álvarez. With his excellent voice, Álvarez emphasized Falstaff's nobility of character rather than highlighting the farcical aspects, thus losing some of his comic substance. The same can be said for Tommi Hakala's Ford, in his case with some problem of pronunciation and occasional faltering upon the mannered terms of Arrigo Boito's libretto. However, both artists have developed their characters with great style and some elegant detachment. On the contrary the roles of Dr Cajus (Andrea Giovannini) and the comically awkward duo Bardolfo and Pistola (Patrizio Saudelli and Deyan Vatchkov), a sort of Stan Laurel and Oliver Hardy, were well characterized while Francesco Marsiglia was a correct though not memorable Fenton. In the women's domain Erika Grimaldi sang Mrs Alice Ford fittingly but with an unpleasant timbre. Mrs Meg Page (Monica Bacelli) and Mistress Quickly (Sonia Prina) were vocally more enjoyable, the last one in a role that she often sings after performing many Handel and Vivaldi roles. Romanian soprano Valentina Farcaş met demanding vocal and scenic skills for Nannetta. Daniele Abbado's staging illustrates the story in a very straightforward way. The acting is clever, even if in the Windsor Park scene one expected something less predictable.Carla Teti's 1950s costumes and Luigi Saccomandi's warm lights complete a nice-looking production.

Davide Amadei's scenic design consists of an inclined floor placed diagonally, a wooden parquet cut vertically in half to act as a curtain that, when raised, reveals an environment surrounded by walls in the pattern of an overwhelming wooden coffered ceiling. Costumes are evening dresses for the female characters while Orpheus is barefoot in a white suit and Apollo in a gilded outfit. Even more bizarre are those worn by Charon and Pluto. In Pizzech's direction the entrance of both Music and the Messenger are flatly realized while Charon's boat goes back and forth just a few feet to carry wild souls which, with their rumpus, divert the attention from Orpheus trying to sweeten Hades' ferryman. A full range of expressive modes is highlighted through a colourful, rich palette, both instrumentally and vocally. This makes Monteverdi's work a masterpiece still wholly enjoyable today.

The show seen in Turin, directed by Bob Tomson and Bill Kenwright , the choreography by Bill Deamer , the sets and costumes by Matthew Wright , the lights by Tim Oliver and the sound by Dan Samson , is of very enjoyable effectiveness, but above all it rests on the shoulders of a superb company. Formidable the dancer, singer and actor Gian Marco Schiaretti , already known for having taken part in Italy in musicals such as The Hunchback of Notre Dame, Romeo and Juliet, Tarzan and Snow White , who as a hypercritical narrator of Evita's life, observes her parable, from rise to collapse, with moments of great effectiveness in the song “ Oh What a Circus! ”, Sung while the man of the people, after Evita's death, makes fun of his“ divinization ”with caustic tones. She is played by Madalena Alberto , a Portuguese singer and actress who boasts an enviable career in the musical on the London stage; has a voice that immediately conquers, which not only knows how to find eloquent yet delicate tones in a splendid " Don't Cry For Me, Argentina " - famous page, sung at the opening of the second act, on the balcony of the Casa Rosada by election of the President just happened and in front of a crowd of cheering supporters - but in the end he knows how to be touching in portraying the scenes of pain with moving effectiveness. All the others are good, including Jeremy Secomb , in the role of Perón, President of Argentina and husband of Evita, so close-knit and well-suited to their parts that they leave their mark. At the end of the show, one leaves the theater and ends up believing in the tale of Evita, a woman who has become an icon for her homeland, protector of the needy and of those " descamisados " who carried their protector in their hearts, a symbol of elegance and an ability to understand and take charge of the needs of a people who idolized her, making her a sort of lay saint of her time, or rather, without the risk of falling into myth, an expert in mass communication.

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.

The sinner Don Giovanni is an expert and easygoing Carlos Álvarez , who combines stage presence with a vocal power at the service of a mature character, a Don Giovanni who knows his stuff and does not have to prove anything to those around him. Brilliant and vocally fit, Mirco Palazzi's Leporello : witty anguished as much by the fate of his master as and above all by his own, it offers a vocal richness that goes far beyond its texture and a truly captivating interpretation. Among the victims of the dissolute, Erika Grimaldi's Donna Anna offers a heartfelt and heartfelt song, albeit with a particular voice that sometimes needs to open closed vowels to better direct the sound. The other seduced and also abandoned is a dynamicCarmela Remigio in the role of Donna Elvira: a whirlwind of a strong-willed and vindictive woman, who makes centers her strong point vocally, effective scenically. Anna's betrothed is a concentrate of sweetness and patience embodied in the tenor Juan Francisco Gatell . Being able to sing both of his arias in this production, for 'Dalla sua pace' he is literally 'lulled' by the orchestra giving a particularly incisive force to the words expressed. On the other hand, the agility as regards 'My treasure' in the second act can be perfected. Zerlina is a lively and by no means naive Rocío Ignacio , very breezy and who plays with his timbre the good Masetto of Fabio Maria Capitanucci . Finally, a great interpretation of the Commendatore byGianluca Buratto : his voice is wide and truly sonorous, which almost seems to dominate the orchestra when he sings in the pit as a statue. Maestro Daniele Rustioni conducts the orchestra of the Regio . Many colors of Mozart notes, precise and appropriate dynamics, maximum attention to the stage. The young conductor navigates safe water in the score and also seems to us to be in excellent feeling with the orchestra. In the most lyrical moments it is enriched with accents that almost move. Good performance by the choir directed by Andrea Secchi. Crowded hall, particularly satisfied audience with all the creators of the show, from the artists to the director.

The libretto is arguably the best da Ponte has written, and the entirely Italian cast at the Teatro Regio di Torino did a wonderful job of expressing every nuance, every witty turn of phrase. The result was relaxing and pleasant: the beautiful costumes by Odette Nicoletti and scenes by Luciano Ricceri gave a literal account of the plot, with some clever details (for example, Despina entertaining a lover coming in from the window) now and then. The orchestra gave a great performance, with special mention to Carlo Caputo at the fortepiano. A demanding audience member might have missed some “forward vision” that is often highlighted in Mozart’s music, hints of the Romantic era to come, in the sweeping phrases of the strings. Federica Lombardi showed an amazing, luxurious top register as Fiordiligi, with powerful, Dorabella was Annalisa Stroppa, arguably the most successful singer of the evening. Her voice was perfectly suited to the role, burnished and deep in its lower register, with confident high notes. She showed compelling stage presence, and her acting was truly funny. The third woman on stage was Lucia Cirillo, as Despina, the cunning servant who helps to deceive the two sisters. Her performance was a success: her soprano had a round, amber colour which became slightly acidic in the high register, while maintaining depth. Her interpretation was funny and lively. Among the men, the best performance was by Andrè Schuen as Guglielmo: his baritone was strong and pleasant, with good breath and control. He had a completely natural stage presence. Ferrando was Francesco Marsiglia, his light tenor showing bright, easy high notes. Despite his remarkable breath capacity, his less successful feature was projection. His voice tended to lack presence. The chorus of the Teatro Regio handled their few interventions with precision and commitment, contributing to a warmly saluted performance.

María Rey-Joly, in the eponymous role, showed a mellow, lyrical soprano, which at the beginning seemed a bit empty in the middle register, but, in the second act, found a better foundation and richness. She was particularly effective in the larmoyant style, but she also approached the last difficult aria (“Da te solo”) with boldness, receiving great acclaim. Uberto, the father, was Markus Werba: his interpretation was full of emotion, and his bass well suited to the part, with good high notes and great support. Uberto has several madness scenes, inspired by Paisiello’s Nina; Werba was very effective, conveying his character’s madness without losing elegance and style. Edgardo Rocha was Ernesto, the unfaithful repentant lover; he had two of the most challenging arias, the second one (“Ah! Se il fato”) written by Paër for the famous tenor Marco Bordogni for the Paris debut of the opera. Rocha sailed through the coloratura and the high notes with his customary rock-solid belcanto technique. His voice found its place in the nose too often, but overall his performance was exciting. The director made a mockery of the character of Ernesto: he had an improbable blonde tuft and acted in an exaggerated and affected manner. Rocha was irresistible, his natural comic vein perfectly suited to this interpretation. Filippo Morace, as Don Pasquale, showed perfect style and a measured, elegant interpretation of the buffo character, although his voice lacked the projection required in the large Teatro Regio. Giulia Della Peruta was an adorable Vespina, her high soprano well suited to the spirited maid. The other singers rounded out the performance, contributing to a well-deserved success.

Antonio Poli is a rightly bold and pleasant Pinkerton, he boasts a beautiful timbre and a good solidity of emission: he approaches the lieutenant of the Navy with enthusiasm to enhance his boastful arrogance, he faces the duet with an excited phrasing to emphasize that the text uttered there is governed only by the ardor of the pelvis, he finally sings "Addio, fiorito asil" with a hint of sincere emotion, also exhibiting beautiful half voices there. Alessio Verna, usually listened to in smaller parts alongside, with Sharpless has the opportunity to highlight a baritone instrument of beautiful color and good volume which, combined with good acting and musical skills, helps the construction of a very multifaceted character . Excellent Suzuki Koberidze while Didier Pieri, in the role of Goro, he proves to have a disciplined voice engaged in very elegant singing. Welcomed by warm open-stage applause in the closed-mouth choir-interlude, the Chorus of the Teatro Regio di Torino confirms that it is an excellence of the Turin institution. The cast is correctly completed by Franco Rizzo (imperial commissioner), Roberta Garelli (Kate Pinkerton), Sofia La Cara (Butterfly's son) and the actor Yuri D'Agostino who, in the narration of the story, embodies Giacomo Puccini. At the helm of the Orchestra of the Teatro Regio in Turin Pier Giorgio Morandi behaves diligently. Of course, in a show where the music proceeds intermittently, constructing a complete and complete speech, getting an idea and giving an idea of ​​one's own reading of Butterfly is difficult, if not impossible - especially in a twentieth century opera where they fail. closed numbers -, however in the isolated interventions one cannot fail to recognize the expert hand of the concertmaster who knows how to keep an eye on the pit and stage without renouncing the construction of functional atmospheres for the dramatic moment. Finally, the show, already presented to the public in Piazza San Carlo several years ago. On the cuts, inevitable due to the nature of the show that has been chosen to offer, we overlook - among the various renunciations, the "flower duet" could however be saved -. The direction Vittorio Borrelli, with scenes by Claudia Boasso and costumes by Laura Viglione is essential if not reduced to the bone: this peculiarity, however, helps Vittorio Sabadin's already well-directed adaptation to focus mainly on the human drama of Butterfly, to speak without laughter of sex tourism - in this regard, how can we forget the magnificent show by Michieletto born at the Regio itself -, without giving much attention to that oleography of a manner that often suffocates and leads to misunderstand this masterpiece

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.

A Pietro Adaini, Elvino, va riconosciuta la luminosità dello squillo nel registro acuto – con tanto di re in «Ah! Perché non posso odiarti» –, a cui talvolta approda però con troppo impeto, inficiando la continuità della linea di canto, già velata da suoni leggermente nasali nella tessitura centrale. Lo spirito bonario, quasi sempliciotto, del ricco possidente, tuttavia, trova nell’ardimentosa espressività un ottimo canale di sfogo e il personaggio, in fin dei conti, è convincente.