Category Archives: belcanto
belcanto composers are buttah
Just when you thought the Semiramide season was over 😉
With this very famous and very difficult aria let’s do something I don’t normally do: let’s go way back, at least 25 years.
It’s hard to imagine something more technically competent but at the same time quite as lacking in charm, in spite of the chandelier-sparkly top.
Well, we can feel it’s sung by a human being. But do you feel the “gioia”? To me it seems like Callas is Medea regardless of the aria she’s singing. Also this aria is showing off how unpretty her voice was.
Hey, thadieu, wanna hear some kitschy ornaments up at the very top? Saying that, it’s the first time I can hear “gioia”. If she sounded a bit less… girl next door in tone and ornaments we’d be talking.
Hm, what’s up with these very unjoyous Semiramides? I like some of the things Devia does here dynamics-wise but she sounds downright pissed off Arsace is returning. Too much Donizetti? The Fenice choir sounds equally as grimly determined to put up with Arsace’s presence if it has to.
Finally, some proper joy even on the finale! I don’t know that I like everything she does here (I may be wrong, but, as far as style, I think Mozart suits her better) but I can definitely get down with the ethos.
On thadieu’s advice, let’s finish on an Antonacci note, to link the past and present:
Oh, after only 10 months we’re back with a post featuring a few (!) tenors. But Rossini, though not made for tenors per se, is known for his earworms. You listen to it once and you must re-listen – about 20 times, or until neighbours start slamming their windows shut in frustration. Having shot down Scala at La Fenice 😉 and now feeling I was a bit (just a wee bit) unfair, I felt like I needed to re-listen for other opinions:
I know Blake was very popular in this rep in the ’80s and ’90s but his voice/way of singing rubs me the wrong way. The goat is randy even below the summit! Ok, this is very late in his career but he sounds like this in other videos. He can and dares do lots of things but none of them are pleasant to my ears. He seems to forget this is a seduction aria not a moment to throw notes like knives at a petrified damsel in distress.
The tone is rather nice but talk about lack of mementum for this “Indian Nemorino”.
JDF is a Capricorn. Coincidence? Nah-uh.
I like Brownlee’s tone best of the bunch. There’s no strangled goat bleating in the stratospheric heights but he covers the tessitura without issues, and he can sound really beautiful in the tender moments. BTW: are there any non-virtuoso Rossini arias?
But Kunde is also surprisingly pleasant to listen to, though I can hear some insecurity. I didn’t even know he used to sing in this rep.
…until the end of October 2019 😀 Get your fill of UNCUT late Rossini, all 4 hours of it.
You can’t go to a theatre like La Fenice and not think about its history. Staying true to the name, it resurfaced after three fires (1774, 1836 and 1996). What we see today is the house re-opened in 2004. So it’s both old and new. You may think it’s big because it has that compact design, but although the horseshoe is packed with seats, the stalls don’t go far back. The capacity is a mere 1126, according to Wiki. And yet, some of the operas now played with big orchestras in massive houses have premiered here1. Top belcanto WS favourites were first mounted here: Tancredi, I Capuleti e i Montecchi, as well as Semiramide itself.
Before we arrived for the very late 7pm2 start time, thadieu and I roamed the streets without much planning aside from 1) must have dinner some time before the opera and 2) must have gelato sooner rather than later. That eventually turned into an obsession for yours truly: find the 2 Euro 2 scoop gelato or else! You see, gelato gets more expensive the closer you get to the TripAdvisor sanctioned areas (all of sestiere San Marco, Ponte Rialto etc.). Tip: get your gelato early on (ie, closer to the bus station). I think I drove thadieu a bit mad with my stubbornness but cheap gelato was eventually found, eagerly consumed and then all was serene again 😉
We had a leisurely dinner of seafood at a Mom and Pops restaurant in a very quiet neighbourhood somewhere near the Arsenal. After that we strolled back with enough time to do some touristy shopping at the Fenice shop. It’s rather well stocked! They do La Fenice bags for 12 Euros and La Fenice t-shirts (off white, navy, black and red) for 19.99 Euros or thereabouts. There are magnets, cards, pencils, lots of books and CD/DVDs as well. We got the t-shirt – thadieu in navy and yours truly in red. You know I also got one of the magnets.
After getting our La Fenice fan fill, it was already time for the opera. As we were walking up the very cosy stairs I kept thinking “this is our floor” but thadieu just knew we had a long climb to our loggione seats. As with Teatro Malibran, the trick is to get first row in your area, no matter how high or low you’re sitting. We had seats in the central block of the top loggione and aside from an unfortunate pole (old school design…) – which could, in the end, be negotiated – we had excellent views. Ok, you had to lean forward a bit due to lights and railing, but nobody actually sat behind us3, so we didn’t have to worry about blocking someone’s view and we even stood for the most interesting duets/ensembles. The party in the loggione is very friendly, as is the Upper Amphi at ROH, the very top in Munich or at Theatre des Champs Elysees. It’s also mostly locals (of which there were plenty on the bus back to Mestre as well).
The orchestra were already busy tuning up. We noticed our main timpanist was a lady and she did a very good job during the night.
Semiramide: Jessica Pratt
Arsace: Teresa Iervolino
Assur: Alex Esposito
Idreno: Enea Scala
Oroe: Simon Lim
Azema: Marta Mari
Mitrane: Enrico Iviglia
L’ombra di Nino: Francesco Milanese
Conductor: Ricardo Frizza | Choir and Orchestra of La Fenice
Director: Cecilia Ligorio
The production looked to me “modernised Pizzi”, which turned out to be fine. It’s “generic period opera” costumes, with some black vs white business for the dancers/Semiramide or Assur’s attendants. As the opera progressed, Assur’s outfit morphed into “generic Bond bad guy” (ie, black and pretty tight). Arsace, who has been brought up to believe he’s Scythian, wears “generic BC foreign dude” wear, in other words “stuff put together to confuse sophisticated Babylonians” (a cow patch cape, two-tone wide leg trousers, platform shoes4 and a beret). None of this motley stuff detracts from Iervolino’s cuteness in this role ❤ or from her vocal awesomeness. THIS is Arsace.
Semiramide agrees, because in this production it’s pretty clear that these two are getting it on, though initially cute and disciplined Arsace stops Semiramide’s wandering hand before her touch becomes too distracting.
Arsace: I’d die for you [my Queen]!
Semiramide: oh, no, gorgeous, I’d rather you live for me (winks and lounges seductively). Come closer and tell me what you’d do to… I mean for me.
Arsace: like I was saying, I’d die for you! I’m a warrior…
Semiramide: oh, a warrior is exactly what I – by which I mean this empire – need(s). (strokes his thigh) You’re so strong…
Arsace: err, my Queen, I must tell you something…
Semiramide: I know what you’re going to say and the answer is yes! As long as you’re as faithful to me as you’ve been so far you can ask me anything – and I mean anything.
This goes on for a while, wine5 is involved and, well… what’s a young man to do when a beautiful and powerful woman his mother’s age offers him the world (literally and metaphorically)? Azema would have to hold down the fort against Idreno’s wooing by herself for a while. Though after his Ah dov’è, dov’è il cimento? (also known as dude, where’s the cement?!) she too is getting a bit frisky. Lesser known historical titbit: conversations about construction materials were pillow talk back in ye olde Babylonia. I mean did you think the Ishtar Gate and the Hanging Gardens built themselves?!
Speaking of which, why is Idreno expecting Semiramide to just give him the keys to the empire? He’s just some dude from India, pretty much on Arsace’s level, except he looks like he’s commanding an army of blingy tailors rather than burly warriors. Semiramide wears her “belcanto diva” dress but we all know belcanto heroines like their men heroic (except for Violetta). I would also say this Arsace is most definitely a man, any ambiguity present is not of the gender kind.
So even though they got pretty well acquainted the day before, Arsace is still stunned when Semiramide makes the big announcement (that she’s passing on the throne to him as well as wants to marry him).
Arsace: shit! How am I going to explain this to Azema?!
Luckily, the spectre of his father gets involved (after all a father should attend his son’s wedding even if he had to bribe Cerberus to get there) and the conversation suddenly turns horror-film style. Trope #1: being mesmerised by weird stuff:
Arsace (to the spectre): I feel compelled to touch you! Can I?
I mean the spectre looks pretty damn well preserved for having been dead for 15 years, except in dire need of a shower – like he’d come down a chimney rather that up a drainage ditch from the world below (come to think of it, this decision is for the best; the production had hinted at it earlier when the sacred fire went out and ashes poured out from the sacred ash plates. Later the temple virgins did a surprisingly poor job at cleaning the floor (what amateurs don’t soak the towels first?!) but let’s not get lost in details like Scala did in his cement).
Oroe is a very congenial high priest but I have a feeling he’s rigged this game from the getgo, namely he made sure the basement’s (is, burial chamber’s) electrical instalation wasn’t working. The last act boasts that famous trio that goes something like this:
Semiramide: it’s very dark in here, I can’t see my hand. I hope I don’t soil my finery before this ordeal is over.
Arsace: wow, it’s so dark in this basement! Even as a fearless warrior I feel my bowels loosen…
Assur: was it always so dark here? With my luck that stupid spectre will come back and scare me shitless.
All: it’s so dark in here, we’re pooping our pants!
thadieu: someone hand them flashlights already!
We’re lucky this is in flowery, 19th century Italian, thank you very much.
But flashlights do eventually appear, because somehow Oroe’s attendants are able to locate Semiramide and realise she’s been stabbed to death.
Oroe: arrest Assur!
Arsace: …OMG! Who did I stab, then?!
Like, dude…! What kind of army commander of the Babylonian Empire are you, stabbing randomly in the dark?! This production does not give Arsace a stuffed unicorn to hold.
So, after much noodling that didn’t even mention the eyeliner wearing male harem that gets Semiramide hot and bothered whilst she’s singing about how happy she is that sexy stud Arsace is back in town, how was the singing, the conducting and the house band?
Let’s start with the conducting: compared with Pappano, Maestro seemed more interested in keeping the forward movement – which he did. Occasionally (the overture, for instance) he turned the corners a bit too abrasively for my taste, where I would’ve preferred more detail/more legato. But 4 hours went fast. The singers were not hampered by the orchestra. The house band sounded good to me, all the solos went without hitch and the instrumental tones were pleasant to the ear.
The singing went like this, from best to not so good: Iervolino, Pratt, Esposito, Lim, with Scala sort of around the corner. Dude started a bit shaky, with some intonation problems and wobble at the very top, which made the cement aria appear unfocused both vocally and dramatically. I loved it when Brownlee sang it but here it seemed to just go on and on. To Scala’s credit, he got it mostly together as the night went on. But he’s not someone I’m in any hurry to hear again. The public loved him.
Both thadieu and I agreed Lim as Oroe has a very warm, secure, rounded bass but he doesn’t have that much to sing. That warmth and rondness made him feel wise and kind dramatically, which fit. Would listen to him again.
Esposito was the night’s revelation to me, as I have been mostly cold toward him until now. This is the smallest house I’ve seen him in, which I’m sure has something to do with it. In this absorbent6 environment and at this size his voice travelled very well and dramatically he was ideal. Maybe I just need to see him in bad dude roles 😉 The only unintentionally amusing moment came when Assur sang about the spectre’s pulling his (Assur’s) hair 😀
Pratt has the belcanto diva down pat, without coming off too cold. I wonder why ROH doesn’t hire her. As I mentioned elsewhere, I’ve enjoyed her excellent technique, ease with coloratura, beautiful, completely unforced – “blooming” (as per thadieu) – top and stylish touches of unfussy softer singing. Thadieu thought she applied too many ornaments but I disagreed. This is Rossini, there is no such thing as too many ornaments7; furthermore, even if you – which is me, quite often, lately – think Rossini did write too many notes, I didn’t feel like that in her case.
I guess thadieu liked JDD’s more psychologically exploratory approach – and certainly her lower notes, which, true, Pratt does not have – but this production is different and this Semiramide is a less conflicted heroine (until the end, where her conflict is more of the “omg, this is my child!” kind) and rather someone who is always trying to do what she has to do without overthinking it (that kind of thinking might’ve got her in this mess in the first place, but she’s a woman in charge of an empire, she can’t vacillate too much).
Even thadieu agreed that once she started interacting with Iervolino’s Arsace she “humanised”. Indeed, their interaction was excellent. I also thought her and Esposito’s Assur worked – something akin to a mutually destructive relationship. I mean, she still has the broader gestures of belcanto acting but within that frame she’s very effective.
That leaves us with Iervolino’s Arsace. Right after the entrance aria, thadieu and I were in agreement:
thadieu: I’m in love!
dehggi: this is perfect!
What can I say? She’s got everything: the whole range, the ease with coloratura, the wonderful warm contralto tone, the eveness from top to bottom and she can act. A pleasure to listen to/watch. Do yourself a favour and book a ticket to see her NOW. We’re lucky to have caught the Iervolino train this early 😀
After the opera finished, staff was eager to go home and pretty much rushed us out, hehe, somewhere in a narrow street at the back or side of the house.
thadieu: should we get the phone out?
dehggi: yes, because who the hell can navigate Venezia in the middle of the night?!
In the end we followed the crowd, comprised of orchestra members and audience, which took us back to Piazzale Roma more or less in no time. I have to say that nighttime walks through Venezia are the most romantic thing ever, even when you’re rushing to get the last bus. I was tempted to risk having to walk back to Mestre on the side of the motorway 😉 I mean, secluded little bridges, with not a soul in sight, Canal Grande in the darkness, the temptation to try and steal a gondola and glide into the night – you get the picture. With full moon to boot.
We passed a bunch of young people being loud with pizza (and beer?) in a piazza and that seemed the most incongruous thing ever to do in Venice.
thadieu: they’re missing a really great performance.
Youth is really lost on the young (I wouldn’t have cared about opera or, indeed, Venezia, when I was that age, either). But there’s a time for everything and right now I can’t wait for another reason to return ❤
ps: more pictures later, I wanted to get the post out.
- Ernani, Rigoletto, La traviata and Simon Boccanegra. ↩
- I don’t know what the deal is with the union in Venice, but Italians in general don’t seem to mind a show going well into the night (see Torino and Napoli). Semiramide is a long opera even with cuts, so our performance finished well after 11pm. ↩
- though people did shuffle around to get better views. ↩
- the Disco era alive and kicking up in the Caucasus! ↩
- and perhaps a bit of GHB… ↩
- kinda like in Munich, this is not a dry acoustics house. ↩
- whether you like it or not. ↩
Because 35C degree London really needs heating up! 8-0
But it’s true that Grimeborn is back (as every year) and there are some interesting things happening, among which some old school choice bits like Cavalli’s Xerse, Ethel Smyth’s The Boatswain’s Mate and some new, low key (and hopefully off beat) takes on repertory operas – Onegin, Lucia and Carmen.
But there are some other pieces that might catch someone’s interest, such as Turnage’s Greek. or a Mexican setting/reinvention of Offenbach’s Hoffmann (which I can’t quite imagine but it exists, so). There are two pieces for kids, one featuring a singing mouse (who loves Puccini and Mozart) and another a singing-challenged cat (who loves jazz). Then there’s The Rape of Lucretia directed by Julia Burbach, probably a good idea to have a woman’s view and see how much can be salvaged… On the other hand, Elephant Steps sounds patchouli mad:
If you like gangster films, rock bands, gypsy violinists, incense or The Sound Of Music then come and see Elephant Steps. Or if you prefer ragtime, silent movies, psychedelic lights or madrigals? You’ll find them in Elephant Steps too.
I like the things in green and dislike the others (I’m ambivalent about silent movies) so I don’t know if I should dare.
I don’t quite know how this works out but then again:
Thoughts on the teenager’s body based on Buxtehude’s Membra Jesu Nostri. A cycle of cantates for five voices, an actor and an instrumental ensemble, featuring live music and movement.
Arcola Theatre is rather shady cool from what I remember, so choosing something off the roster might be a better idea than idling at home, half comatose for lack of AC in this country (not that I like it but at 35C you start to think in novel ways).
The crucial question here is: does the world need another Donizetti opera?
The very next one: was it fun?
The answer to the first question will vary greatly even within the belcanto community, seeing as how Donizetti was more prolific than his other two best known belcanto brethren and many of his operas are still popular. In a very general way1, I actually like the story of La favorite so I could very well stand this one.
Sylvia: Joyce El-Khoury
Leone de Casaldi: David Junghoon Kim
King Fernand of Naples: Vito Priante
Don Gaspar: Laurent Naouri
THE Monk: Evgeny Stavinsky
Conductor: Mark Elder | Choir and Orchestra of the ROH
Old Mature codger: I can jolly well see why he recycled the music to this one.
Yea, me too – some of it is very entertaining (most of the choir bits, which I remembered from elsewhere and were really catchy in the way act I of Maria Stuarda is2) and the rest is easily listenable – to answer the second question.
I have a feeling its success was one part Donizetti and two parts Mark Elder, who’s long championed lesser known Donizettis, like Dom Sebastian. He obviously likes this kind of stuff and has a lot of fun with it, which in turn rubs off on the audience (or at least people like yours truly). He was great in alternating the melodrama with the funny and his communication with the soloists, orchestra and choir remarkable; aside from some arias in some need of editing (bad Donizetti!), the motion of the the ocean was bouncy and sprightly.
Here I have to stop and commend the choir. I’ve not always been ROH Choir’s biggest fan but they were on fire for this. I don’t remember when was the last time they were so into it, when everything sounded so easy and exciting. Excellent job, everyone.
For those who are more or less familiar with La favorite, this opera is its first – unlucky – incarnation (the sponsor went bankrupt and it was never performed – until yesterday in London). Unlike its later version, L’Ange de Nisida is less serious, in that it has a thoroughly comic character in Don Gaspar, the corrupt official. He starts like he means to go on with a rather complex aria of the same nature like Rossini’s Figaro or his own Dulcamara’s. I’m Don Gaspar and there’s nothing I can’t fix if the price is right. The chorus communicates with him during the aria, as he has brought them along to serenade l’ange of the title but then sends them off when he notices a new fish he could hook (the hapless tenorino, Leone).
Things go downhill from there but he never loses his enterpreneurial spirit, no matter how much those around him moan in belcanto anguish. That is to say, Leone (who loves l’ange aka Sylvia) and l’ange (aka Sylvia, who loves him back but oh, non! it’s not meant to be!) keep it old skool and struggle with love and honour for the majority of the opera’s 3 hours. The king wrestles with love vs authority (dude, like what atuthority? Gaspar and l’ange keep telling him what to do) and THE monk punishes everyone who has a semblence of fun on the island of Nisida (I kinda see where he’s coming from. He’s like a born again who went to Ibiza for a weekend), the choir keeps gossiping and judging the poor star crossed couple, even though we’re told (by them!) from the getgo that Sylvia has helped them out whenever their ships were tossed by the storm and their flocks in mortal danger.
There is a duet between the king and Sylvia, where she tears him a new one because he’s never made her an honest woman though he promised her he would (whatever did they teach young noble women about the ways of the world back then?). It is revealed during the opera that she’s a very honourable and concerned soul who just happens to be the king’s mistress – ye shalt not judge. Also hatas gonna hate. Alas.
Both her and Leonore in La favorite are a bit po-faced; I have to give it to Verdi (or Schiller?) that the coolest character of king’s mistress fame is Eboli. I mean she gets to be witty, seductive, evil and also grow emotionally by the end of the opera. These two are just kind of woe is me, love is not to be – though Oh, mio Fernando is a cool aria (not present here; also alas).
I’m really sad 1839 was so far removed from 1739, because we don’t get a ship tossed by the sea aria for Leone, even though that’s basically his story. It takes him about 3/4 of the opera to understand that he’s being used by all (perhaps not so much by Sylvia, who loves him but gets to despise him when he agrees to marry her in exchange for titles and money – although that’s not why he marries her, but, hey, if someone says do you want to marry the woman you love and get lots of money for the effort, too? – would you say no to that? – that’s just some ersatz melodrama so people end up thoroughly emotionally drained by act IV). It’s belcanto.
Start of Act IV Sylvia: I’m dying of sorrow.
End of Act IV Sylvia: oh, Leone, I love you but we can never be together.
Leone: why not? I love you too, we got each other! and that’s a lot – for love
Sylvia: because I’m dying of happiness. [dies]
Also in act IV: Leone is tired by all that happened that day (in the morning he gets the death penalty for dissing someone or something important, by lunch Gaspar and l’ange intervene for him and the king commutes his sentence (told you, he’s Mr Authority) – to married life 😉 – then Leone meets with l’ange and she tells him she loves him but can’t be with him, in the afternoon the king tells him to marry her and during the ceremony her realises she’s the king’s mistress and everyone shuns him for being dishonourable) and decides enough is enough and joins a monastery – and by the evening he’s ordained priest! I guess because THE monk – who keeps threatening with the Papal
Red Bull – knew his father and what’s a bit of nepotism if it’s for a god good cause?
So, yea, that’s the story. They really clean it up for La favorite but on the other hand Don Gaspar! Naouri was so much fun, I kept wanting Don Gaspar to make another scheming and shamelessly self serving appearance. He and Elder (and the choir) had the most fun of the night.
This was the first time I heard El-Khouri (though I had tix to see her and hubby in recital exactly a year ago but couldn’t go due to random illness). It was a curious experience and it took me the entire night to figure out what was going on. I came to the conclusion that she didn’t feel comfortable with the dramatic nature of this role – her voice felt strangled whenever she wasn’t singing coloratura, which was very good (same goes for diminuendo – beautifully executed, with technique and feeling). To me she felt so uncomfortable that it was hard to get much expression beside said ornaments. However, next to Naouri she had the most engaged stage presence, considering this was a concert performance.
Kim as innocent tenorino Leone was also a mixed bag, but rather because he is so young. Last year he was still part of ROH’s Jette Parker Young Artist programme and this was a big role for him. He had some utterly beautiful moments throughout the night, especially when called to sing piano and with feeling and he was wise enough not to push for schmalz. Donizetti and possibly grand opera is a good route for him, his voice is very well suited for Nemorino and that kind of haplessly plaintive stuff. We root for him, especially as he’s cute as a button! (I’m saying that as a good thing – if you got it, go for it, there are many cute and innocent roles for tenors). He’s not the most interactive actor, at least not in a non-scripted environment but he does look like he means what he sings.
Priante as the king seemed to me like his voice was a size too small for the role but otherwise I can’t say I have complaints. He does look like the kind of king this opera calls for and he was engaged, especially as the night progressed. Stavinsky as THE monk of the Bull was pretty menacing, though maybe give him another act and his monk would mellow quite a bit to get jamming with the locals.
It was a very entertaining evening and I’m sure Opera Rara recorded it, because there were plenty of mics on stage, so I think you will be able to listen to it, should you be inclined to indulge in yet another belcanto opera (where all the big moments end exactly the same). There is one more performance on July 21 and still plenty of (rather cheap) tickets, because it’s not Maria Stuarda, after all (or at least not all of it is).
- insofar as any story involving the other woman is concerned (though poor ange finds herself in the unusual situation of being the other woman to the ghost of the honest woman). I always enjoy seeing reviled characters/antagonists on stage. And in this case we have a bit of (sentimentalised) exploration of the question: would winning the social lottery make you happy? ↩
- probably because that’s where I heard at least some of them, ha. ↩
…I ran into this (for your convenience, I’ve linked the ending – you need to stay for the “flea market” chorus – everybody in for themselves!1):
What in the world was that? And how did anyone – especially the conductor – think this was a good idea?2 Works well for the final stretto 50m dash in the Operalympics or as an advert to stop kids from playing with electricity, otherwise…
ps: from another Opera Ball – this time in Dresden. Coincidence? I think not.
ps2: in her defence, she is not afraid of taking chances (and watching her moves is half the fun), unlike a certain mezzo we know and (I) love 😉 One hopes that these chances were less misguided…
ps3: even more in her defence, as a redeemer for Rossini, this trailer of Adelaide di Borgogna, where Ottone seems to be a woman. So maybe she just needs to ditch the Opera Balls and stick with trouser (wearing) roles?
If you ever wondered how things were before this blog started, the answer is I still occasionally jotted down thoughts about shows. I thought I should bring these mini writeups here for the sake of completism. This one marks my very first time at the ROH – the rep may make stray smile 😉
Monday evening I went to see Nabucco here in freezing London (seriously, it’s April! whatever happened to the weather?! – exactly what could be said of 1 April 2018). Now I have mentioned before that I started liking Verdi only about 2 months ago and so far Nabucco is my favourite (unsurprisingly, as one of the most straight-up belcanto operas from the green one). I didn’t want to spoil my fun so I didn’t read anything about the production before going. I thoroughly enjoyed myself, but apparently the production has mixed reviews. True enough, it is as static as they come – minimal acting, lots of singing to the public. But gorgeous singing for my balcony seat money! I also enjoyed the Berlin Holocaust Museum/monolith sets – intelligently making the link across time – as well as the wire sculptures of Baal and heads (Nabucco & daughters, as I read them). Add a sand pit and that’s it as far as sets go. Teensy bit more than the Noah’s Ark from Verona.
Singing: I’ve a fondness for badass, tough-as-nails, tough to sing roles and, good lord, how about that Abigaille? Whew! What a range on all levels and how wonderful to witness live when the singer can pull it off. Monastyrska did a hell of a job: yea, she projected, she dominated, in short, she chewed scenery but my favourite part was the way she managed the lyrical bits with that hefty voice (I found her top notes surprisingly pretty). Some control! Nucci also rocked the lyrical side, although I thought he didn’t let loose quite as much. But gorgeous voice acting, brought tears to my eyes. Everybody else (including Pizzolato (Fenena), whom I’ve enjoyed in other belcanto roles) sounded excellent.
Since my babbling was way shorter back then, you can read R. Christiansen’s take on the production (he, of course, saw one of the Domingo performances).
Just to make me happy, it starts off with Parto. I haven’t seen it yet but I hope it’s good (almost 2 new hours). If it’s not good we can laugh about it here 😉
After watching/listening to it:
For those who don’t know and would like to before applying yourselves to an 1hr and 46min, this batch is mezzo only and it containts work on three mezzo staples: Parto, Dido’s lament and Non piu mesta (which I always call Non piu messed up). They are all promising singers but the young woman working on Dido’s lament has a particularly beautiful tone (baby contralto? we should be so lucky 😀 ). She is also very cutely star-struck.
This was part I of a two part event where Boni (with and without co.) introduced some of us to lirica italiana.
Anna Bonitatibus mezzo-soprano
Serena Farnocchia soprano
Paul Nilon tenor
Rocco Cavalluzzi bass
Margaret Campbell flute
Vincenzo Scalera piano
Girolamo Crescentini (1762-1846)
Il primo amore
Giovanni Battista Perucchini (1784-1870)
Taci, invan mia cara lole
Vieni, t’appressa all’urna
Se i sospiri degli amanti
Odi d’un uom che muore
Luigi Gordigiani (1806-1860)
Alberto Mazzucato (1813-1877)
Il pensiero della sera
Il canto d’amore
Giuseppe Verdi (1813-1901)
Notturno (Guarda che bianca luna)
Saverio Mercadante (1795-1870)
Virginia: Cantata for soprano and piano
Cupo è il sepolcro e mutolo
Vincenzo Gabussi (1800-1846)
Gaetano Donizetti (1797-1848)
Gioachino Rossini (1792-1868)
Sir Michael Costa (1808-1884)
Ecco quel fiero istante
Maria Malibran (1808-1836)
Nel cor più non mi sento
The cat quartet (Rossini)
Though Wiggy has of recent been making a habit of getting together singers, orchestras and instrumental soloists, here is no doubt that managing any number of people larger than two is no easy feat. Originally the performance was supposed to include Jeremy Ovenden (last heard by me in that not quite Tamerlano from Brussels) and Riccardo Novarro (whom you might remember from last year’s Dario and Giulio Cesare) but they had to cancel.
Due to people changing into higher gears on their own time and also perhaps due to the choice of songs, the first part of the evening was rather mixed. As one would expect, our host Boni, in what I already called a pink gelato dress (with very nice pink floral embroidery), held her own from the getgo and had a heartwarmingly gentle moment with one of the songs (don’t ask me which, sorry, I’m really not versed in lirica italiana) ending in something I translated as “don’t worry, I’m right here”. And indeed, she let her friends take centre stage through the night, popping in and out to let us know just that.
The turning point for me was the Mercadante cantata, which I did not know, but had the easiest time following the voice-piano dialogue. I was quite stunned, in fact, given that usually when I hear a new piece I’m left with a soup of feelings and maybe the main tune, rather than being able to clearly “read” along with the people on stage. Great job Farnocchia and Scalera, for the mutual communication and ability to impart to us some vintage belcanto writing. We should hear more Mercadante, shouldn’t we? We should also hear more of Scalera, who I have heard before but I’ve started to rate very highly as accompanist since this concert, where he generally seemed to be having a ball.
The first best moment of the night was Boni and Farnocchia’s duet in Donizetti’s Il giuramento – their voices work so well together. You could tell they’ve sung together a lot, too, but their tones are wonderfully suited to each other. Farnocchia, though billed as a soprano and in possession of some piercing high notes, has a very fetching middle, quite related to Boni’s, though brighter. I would not say no to hearing her in some high mezzo roles.
The second high point was Boni’s rendition of Malibran’s Nel cor più non mi sento, which, for those who don’t know, is an excuse for the singer to show off their versatility, as each return of the main tune is done in a different style, from contained pathos to operetta silliness, through trills and octave jumps. Boni had no qualms about taking the piss out of herself as much as of the text, when attempting to reach the highest highs.
Cavalluzzi has a very opaque bass which sounded to me – at least at the beginning – like a Korean-type bass, very dark and rather large and not particularly subtle. I was then very surprised to hear how comfortable he sounded in I gondolieri.
Nilon has the smallest voice of the bunch and not particularly colourful but Italianate all right. He had the least effect on me (I napped through some of his efforts during the first part, having misjudged my energy levels the night before) but then I’m not the biggest tenor fan.
The night ended on an ensemble high with a really well balanced I gondolieri, where we got to hear some of Rossini’s strengths normally reserved for opera act finales done justice by Boni and Co. Lastly, they put decorum aside and regaled us with the Cat quartet.
The night took a bit of warming up and perhaps the selections presented during the first part could’ve been thought over a little but the second part was certainly well worth it. Boni proved a very gracious and generous host and with a hilarious knack for comedy. She can do the dramatic bits no problem, but I think zany comedy is her true calling.