Donizetti, Lucia di Lammermoor

From Seen and Heard International
By: José M Irurzun

On my way to Valencia I was wondering how I would handle the transition from the Barcelona Tristan to Lucia in just three days. The jump from one opera to the other is not an easy one, unless you see in the Donizetti two protagonists as exceptional as those in Tristan, rather a scarcity in the world of opera today. In Valencia we were offred a number of positive elements that should have been able to give us a good performance of Lucia di Lammermoor, but there were not enough to make my leap successful.

I don’t know if the current economic crisis is the reason for shaking the dust out of old and successful productions, but the fact is that, following a 23 years old production of Tristan at Liceu on Saturday, in Valencia we had a production of Lucia which was premiered in 1996. It is this production that we saw at Teatro Real in November 2001, as vehicle for Edita Gruberova (alternating with Maria José Moreno) as the protagonist. The production is quite attractive to the eye but is not too brilliant in terms of direction, which is quite amazing considering that the production has the signature of Graham Vick on it. A floor covered with flowers and herbs and with looming dead trees is a constant in Act I, the mad scene, and the supposed cemetery of Ravenswood and all that changes is the cyclorama at the back of the stage, showing dark clouds. Interior scenes are shown by means of the movement of two dark panels that run through the middle of the stage. The costumes are attractive and place the action at the end of 18th century, while only some tartan bands give us the idea of Scotland and not Versailles. An attractive production, but not among Graham Vick’s finest.

Karel Mark Chichon was in charge of the musical direction and he was rather uneven. It is not easy to conduct a belcanto opera unless one is a consummate specialist in this repertoire, because there should be a good balance between purely musical direction and the support to the singers, who are the real protagonists of this kind of opera. Mr. Chichon’s reading was truly dramatic from the prelude onwards, which is not very surprising, when you have at your command an outstanding orchestra like Valencia’s. But there were also many moments where the voices were drowned by the sound coming from the pit. Tempi were somewhat erratic, moving easily from too slow to too fast, although his work was very careful and meticulous and he controlled perfectly both stage and pit. It should be noted that he offered the most complete version of the opera, including the anti-climactic recitative that puts an end to the Mad Scene which is, in my opinion, better cut.
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Verdi, Simon Boccanegra

From Seen and Heard International
By: José M Irurzun

After the brilliant performance of Ariodante last December, Oviedo finished its opera season with a greyish kind of tone from a Simon Boccanegra that left much to be desired.

Coming from the Santa Fe Festival with stage direction by Stefano Vizioli, discovering what the interest in this production is supposed to be, was a mystery to me. It was premiered in the summer of 2004 and has never again been revived -a fact which, now that I have seen it, seems distinctly less than a surprising. This is really a very poor production, unworthy of an opera house as important as Oviedo.

The staging consists of side walls, with one added at the back which opens to give a view of the sea, and also serves as an entrance for the Council Scene. A revolving section in the middle of the stage is where the supposed action takes place. The costumes are as poor as the sets and the lighting is also unexceptional. With all this disappointment, only really exceptional stage direction could catch the interest of the audience, but Stefano Vizioli did not achieve that either. The chorus and extras were static and the major roles were all directed with similar lack of stimulus. It is hard to imagine that the fight at the beginning of the last act could have been any worse. In short, this was an unacceptably poor production altogether.

Daniele Callegari was a safe and effective conductor and of the three aspects that form an opera – scenic, musical and vocal – it was the music which came out best in this performance. I don’t know if the Orchestra has improved much during the last year, under the baton of its musical director Friedrich Haider, or if the hand of Callegari deserves the credit, but I found the orchestra better than ever before and it was one the best performances I have attended from the always reliable Maestro Callegari.

Some people may think that the cancellation of Carlos Álvarez as the protagonist of the opera must have had serious consequences for the development of the performance, but this was not the case, since the new Simon Boccanegra was the very acceptable Marco Di Felice, a good baritone, although his voice has not quite the amplitude that the Doge needs. His interpretation of the role was fairly routine, but that was also partly due to the director.
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Donizetti – L’elisir d’amore at Lyric Opera of Chicago

Lyric Opera of Chicago continues its 2009-2010 season with a masterful staging of Gaetano Donizetti’s L’elisir d’amore or The Elixir of Love, as it is billed. The revival of this venerable production is enhanced by an excellent cast, led by Lyric’s Ryan Opera Center alumna Nicole Cabell. The deft conducting of Bruno Campanella makes the familiar comedy flow beautifully on stage so that the opening night on 23 January was an exciting event, with Lyric’s audience enthusiastically responsive to the production.

The situation at the beginning of the opera is typical of many librettos, with the object of a young man’s desire hardly noticing him. In loving the much sought after Adina, Nemorino seems to aspire to a love beyond possibility. Much more the rustic than his rival, the polished soldier Belcore, Nemorino is too determined to be dissuaded and his single-mindedness leads him to be duped by the quack-doctor Dulcamara whose ‘infallible’ love potion is nothing more than Chianti wine. While the potion only causes Nemorino to become inebriated, Adina notes his absence when she is just about to wed Belcore, and ultimately realises that Nemorino is the devoted husband she actually desires. It is a simple plot which works convincingly simply because of its fine music.

To that end, the cast is admirable in giving the well-known numbers fresh and ardent readings. Tenor Giuseppe Filianotti made the opening number “Quanto è bella” vibrant ; and if his delivery seemed somewhat aggressive in this piece compared with some other singers, it still served the text well. Moreover, his sensitive and moving performance of “Una furtive lagrima” contained all the nuances many performers strive to bring off, but rarely achieve as admirably. Filianotti worked well with Nicole Cabell throughout their on-off-on again romance and was particularly effective in the duet “Chiedi all’aura lusinghiera.”

Nicole Cabell also gave a first rate performance as Adina. She displayed all her character’s necessary self-confidence – she’s rich and the most beautiful girl in the village after all – and made a particularly strong impression in the opening aria “Della crudele Isotta,” in which she recounts the story of Tristan and Isolde to her audience. Her vocal confidence was also very evident in “Chiede all’aura lusinghiera,” her duet with Filianotti and was even more notable in the later duet “Eulsti pur la Barbara.” Her ensemble work with the other principals was also solid, with her concluding aria “Il mio rigor dimentica” as fresh and emotionally resolved as anyone could hope. At times however, it was difficult to hear some of her lines, perhaps because of the sets which leave much of the large stage space vacant, but this also happened to Filianotti on occasions when he moved stage left.
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