Tosca Times 3 in Barcelona

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March 22, 2014
From Seen and Heard International By: José Mª. Irurzun

SpainSpain Puccini: Tosca, Liceu’s Orchestra and Chorus, Paolo Carignani (conductor), Barcelona’s Liceu, 17,18 & 19.3.2014 (JMI)
Tosca Barcelona (c) A Bofill

Barcelona’s Liceu has scheduled fifteen performances of Tosca with three different casts that have to be considered as alternatives since the price of seats is the same for all of them. Judging from this sales policy, it could be assumed that the main star is Tosca herself.
Ten years after the controversial production by Robert Carsen, Liceu has commissioned a new production from Paco Azorin, a well-known theater director in Spain, who has worked as an opera set designer for directors such as Mario Gas and Lluis Pasqual. Azorin does a fairly traditional job in terms of sets and costumes, but the aesthetic interest of the production decreases from act to act. There is an attractive scene of Sant’Andrea della Valle, featuring an altarpiece whose figures are video projections. Palazzo Farnese is just the back of that altarpiece with a pretty bare Scarpia’s office and the rather strange presence of a prison at the right of the stage. In the last act we move to the roof of the prison, where Cavaradossi wanders and where finally he will be executed.
Paco Azorin provides his personal touches, but they are not too successful. At the beginning of Acts I and III he includes a number of extras who accompany Angelotti and Tosca to the church and prison respectively. The first two acts are fairly traditional, although it’s odd that Tosca shakes hands with the prisoners after killing Scarpia, whom she kisses goodbye as well. The last act is the most confusing, with a change of dress by Tosca in prison and the action transferred to the roof of the building.
Paolo Carignani’s conducting was satisfying, with adequate tempos and good care taken of the sound coming from the pit. There was tension and dramatic sense and, overall, I found his reading rewarding. The orchestra continues to improve, which is good news.
Sondra Radvanovsky, the first Tosca, was quite convincing. Her dark timbre is very attractive, and the size of her voice is second to none. Her very important middle range is not an obstacle to a glorious top register. However, I found her low notes weaker than before. She got the biggest applause of the three performances at her “Vissi d’ Arte.”
Martina Serafin was a convincing Tosca on stage but less so vocally. She has no problems while the tessitura stays in the center, but her timbre changes color for the worse on the high notes.
I found Fiorenza Cedolins improved from the last time I saw her on stage. Her middle range is now richer with bigger volume and consistency, but her low notes are still insufficient and the upper area has not recovered the brightness she had in the past. She was a good Tosca, although not the exceptional Tosca of some twelve years ago.
Jorge De León was the first Cavaradossi. There is no doubt that his voice is very important and one of the most attractive today in the big repertoire, but he tends to sing mostly forte. If he seemed to me somewhat superficial, Alfred Kim was even more so with the difference that De León’s voice is more attractive. Alfred Kim has no problems of tessitura, and his high notes are like trumpet blasts and always in full voice. His interpretation of “E lucevan le stelle” was a real display of decibels. Finally, we had Italian tenor Andrea Caré in the third cast, and overall he made a good impression. His voice is suited to the character, but his biggest handicap is his forced top notes which give the impression he doesn’t feel safe up there.
Ambrogio Maestri was an excellent Scarpia on stage although I prefer a darker voice in this evil character. He is one of the best Scarpias around, but I prefer him in characters such as Falstaff or Dulcamara. Scott Hendricks was a convincing Scarpia on stage and very nuanced in his singing, but his baritone is not particularly attractive and the size of his voice is limited. Vittorio Vitelli was a very modest Scarpia; in fact, his voice was smaller than Sciarrone’s. I do not understand his presence in this house.
The secondary characters were rather mixed, with an excellent Sacristan from Valeriano Lanchas.

New Production: Gran Teatre del Liceu in co-production with Seville’s Maestranza
Direction: Paco Azorín
Sets: Paco Azorín
Costume: Isidro Prunés
Lighting: Pascal Mérat
Tosca: Sondra Radvanovsky/ Martina Serafín/Fiorenza Cedolins
Cavaradossi: Jorge De León/Alfred Kim/Andrea Caré
Scarpia: Ambrogio Maestri/Scott Hendricks/Vittorio Vitelli
Angelotti: Vladimir Baykov/Alessandro Guerzoni
Sacristan: Valeriano Lanchas
Spoletta: Francisco Vas/José Manuel Zapata
Sciarrone: Manel Esteve
Jailer: Dimitar Darlev/Pierpaolo Palloni
Shepherd: Elena Copons

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Andrew Davis in a Fresh, Exciting Clemenza

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March 12, 2014
From Seen and Heard International By:James L. Zychowicz

Mozart, La Clemenza di Tito: Soloists, Lyric Opera of Chicago, Sir Andrew Davis, (conductor), Civic Opera House, Chicago. 8.3.2014 (JLZ)

After a quarter-century, Mozart’s 1791 opera seria La clemenza di Tito returned to the Civic Opera House in Sir John McVicar’s production, originally designed for the Festival d’Aix-en-Provence (in conjunction with the Théâtre du Capitole de Toulouse and the Opéra de Marseille).
McVicar’s stage conception is stark, with unadorned sets and dark colors. While the libretto by Caterina Mazzolà (based on Metastasio) celebrates the generosity of the first-century Roman emperor Titus in forgiving those who plotted against him, the production offers a post-modern spin by suggesting that the clemency goes against Roman law. An emphasis on the military aspects was quite effective in the first act, where the guards used martial arts and highlighted the distance between the emperor and his people; the guards separated the crowds in all the ensemble scenes. McVicar’s comments in the program help to explain the production’s final gesture, when Publio and the Praetorian guards threatened Tito as the curtain dropped. This looming threat left the opera open-ended, as if something more were to occur, while the text and music imply a more conventional resolution of the drama’s conflicts. As an aesthetic matter, it was not entirely convincing.
As Sesto, Joyce DiDonato sang with finesse, especially in the conflicting emotions of the aria, “Parto, parto,” paying close attention to the phrasing of the text. DiDonato started at a lower level, letting her passion grow as she reached the climax—a defining moment, and one that set the tone for the other principals.
As Vitellia, Amanda Majeski was similarly impressive, even stylish, with an even range that resonated clearly, even as she faced the sometimes challenging vocal lines. Her first-act duet “Come ti piace, imponi” was commanding, and set the dramatic and musical tone from the start. Yet her second-act aria “S’altro che lacrime” was even more powerful; its wide range does not always receive the low tones and rich high notes that Majeski gave. It was an impeccable performance, both technically and interpretively.
Bass-baritone Christian Van Horn stood out with his nuanced approach to the role of Publio. He was clear and distinctive in the first act, but in the second-act aria “Tardi, s’avveda d’un tradimento,” he, too, was exemplary in his lyricism, clarity, and elegance. My hunch is that Van Horn would be equally outstanding as Leporello or Don Giovanni.
In the role of Annio, Cecelia Hall gave the character appropriate style, and like many others, was even stronger in the second act. The aria “Torna di Tito” at the opening commanded attention for its impassioned delivery. Emily Birsan offered an appropriately dignified Servillia, with a lithe reading of her single aria “Ah, se fosse intorno al trona.” As Tito, tenor Matthew Polenzani’s tone in the first act was sometimes unnecessarily loud and monochromatic, but in the extended scenes of Act II—the recitativo accompagnato that underscores Tito’s forgiveness for his political enemies—he was commanding, singing the role with dignity and poise.
Sir Andrew Davis gave a persuasive interpretation, leading the orchestra with insight and great attention to detail—details that are not always made so accessible. The vocal duets called to mind similar-sounding music in Così fan tutte, which Mozart composed around the same time. Above all, Davis made the ensemble sound fresh and exciting, a memorable performance of this important score.

Tito: Matthew Polenzani
Sesto: Joyce DiDonato
Vitellia: Amanda Majeski
Annio: Cecelia Hall
Servilia: Emily Birsan
Publio: Christian Van Horn[Br]
Conductor: Sir Andrew Davis
Original Director & Set Designer: Sir David McVicar
Revival Director: Marie Lambert
Costume Designer: Jenni Tiramani
Lighting Designer: Jennifer Tipton
Chorus Master: Michael Black
Choreographer: David Greeves
Associate Set Designer: Bettina Neuhaus

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Lucia di Lammermoor at La Scala: Playing Safe Does Not Always Work

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February 26, 2014
From Seen and Heard International By:Jose Mª. Irurzun

ItalyItaly Donizetti: Lucia di Lammermoor, Orchestra and Chorus Teatro alla Scala, Pier Giorgio Morandi (conductor), La Scala, Milan, 19 & 21.2.2014 (JMI).


Lucia di Lammermoor is a very safe opera, one offered time and again by second-tier opera companies. It is usually a triumph, with a soprano who is easy at the top of the range. But when a major opera house such as La Scala stages it, one is entitled to expect something special and not the Lucia you might see at other venues. However, only the second or alternate cast was consistent with the history of the theatre. The suitability of the first cast was far more debatable.
In recent years La Scala has mounted Pier’Alli’s stage production; the most recent performance took place in 2006. Now they are offering the staging by Mary Zimmermann; it comes from the Metropolitan in New York where it had its premiere in 2007. This is a realistic production with sets that allow for rapid scene changes in the three acts: a wooded landscape in the first act, a large room in the palace of Ashton for the wedding of Lucia, a room with a long staircase for the mad scene and, finally, an empty stage with crosses at the back that evokes Ravenswood Cemetery. The costumes appear to move the action to the second half of 19th century.
The stage direction is appropriate and includes the presence of a ghostly figure as a double Lucia, already present in the fountain scene and reappearing in the final scene with Edgardo dying in her arms.
Little was required musically to improve upon the weak impression left by Daniele Rustioni in Il Trovatore. Pier Giorgio Morandi was on the podium for Lucia, and his reading was just controlled and routine. To his credit I must say that at least the orchestra sounded better than at Il Trovatore, but it still was not what we have heard in this house in the past. The performance of the chorus was unobjectionable.
The protagonist in the first cast was Russian soprano Albina Shagimuratova who is known for her frequent performances as the Queen of the Night. I think we should start a conversation about whether Lucia is a role for a light soprano or, on the contrary, a different kind of soprano is required. In my opinion, Lucia is not suitable for a light soprano, as proven by Maria Callas in the 1950s, then by Renata Scotto and June Anderson, and more recently by sopranos such as Mariella Devia and Diana Damrau. It could be argued that in Donizetti’s time light sopranos sang the role, but things have changed a lot since then. At La Scala itself in 1839 Lucia was sung by Giuseppina Streponi who does not seem to have been a light soprano, unless we consider that the character of Abigaille also belongs to that category.
Albina Shagimuratova has a pure light soprano, rather reduced in size, with a more or less childish middle range. Her voice is very weak at the bottom and quite easy at the top. She went almost unnoticed at “Regnava nel silenzio,” was short of power in the duets with Enrico and Raimondo, but had no problems with the very top notes in the mad scene. If I claim that Lucia is not for a light soprano, it is due to the fact that it is almost impossible to move the audience with that type of voice. For me, emotion is consubstantial with romantic opera.
The alternate Lucia was Jessica Pratt, whose performance was much better than her colleague’s. Her voice, a light-lyric soprano, is beautiful in timbre. Contrary to what happened in the first cast, Ms. Pratt was able to move the audience by means of voice, refined technique, expressiveness and exquisite taste. No doubt we are face-to-face with one of the most exciting performers of Lucia di Lammermoor at present, but to be a great Lucia she’ll need to have a wider center. There was a noticeable difference in voice and stylistic approach between her Lucia and Albina Shagimuratova’s.
Vittorio Grigolo was an unorthodox Edgardo, to say the least. His voice is beautiful, it flows very naturally, and he is a paradigm of ardor and delivery on stage. Is this good for Edgardo? Yes, of course, provided that one doesn’t forget that Lucia di Lammermoor is a bel canto opera. Mr. Grigolo sang Edgardo as if it were written by ??Puccini and not by Donizetti. There were too many open sounds and dramatic effects and little elegance in his singing. As Malatesta says in Don Pasquale: “La parte non è questa.”
Italian tenor Piero Pretti in the second cast left a positive impression. He is a light-lyric (maybe a little more) tenor, homogeneous in voice. He has a tendency to throaty sounds in the first octave, while his high notes are bright and nicely projected. At the moment, his weakest point is his lack of expression on stage. He often reminds one of the stereotypical tenor singing with his arms at his side. There should be something in between the ardor and perpetuum mobile of Vittorio Grigolo and the static mien of Piero Pretti.
Massimo Cavalletti was not too convincing as Enrico. His singing wasn’t precisely belcantista, and there were too many open sounds as he tried to convince us that he really was the villain in the opera. I found his top notes less brilliant than a year ago.
Sergey Artamonov was a correct Raimond, while Juan Francisco Gatell was well-suited to Arturo.

Lucia: Albina Shagimuratova/Jessica Pratt
Edgardo: Vittorio Grigolo/Piero Pretti
Enrico: Massimo Cavalletti
Raimondo: Sergey Artamonov
Arturo: Juan Francisco Gatell
Alisa: Barbara Di Castri
Normanno: Massimiliano Chiarolla

Production: Metropolitan Opera
Direction: Mary Zimmermann
Sets: Daniel Ostling
Costumes: Mara Blumenfeld
Lighting: T.J. Gerckens

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