In case you need a reminder: check it out. At the Tchaikovsky Concert Hall.
Il ritorno di Tobia Haydn
Overture and aria Sudo il guerierro
Haydn’s stuff is always fun until he gets too noodly. I thought the aria was a bit low for her but an always welcome start.
Paride aed Elena Gluck
Paride’s mournful aria (don’t know the title)
It fit her very well; really nice variations in the middle section.
La clemenza di Tito Mozart
Overture and Deh, per questo instante solo
Capuano’s take on the overture is of the jaunty kind. There is a reason is often played in concerts. Her take on Deh, per questo… is something I think I talked about before. very affecting and natural at the same time ❤
Orphee et Eurydice Gluck
Amour, viens rendre a mon ame
Just yes, with a lot of warm smiles. The public loved it, too. Somehow 40min went in a blink.
L’italiana in Algeri Rossini
Overture and Cruda sorte!
The overture got out the bombast but perhaps not so much the Italian silliness. AH got all that in Cruda sorte. Just wonderful and tossed off like nothing.
Song of the willow
I know nothing about any Ot(h)ello operas, honestly. It sounds beautiful enough and very suited to AH’s tone.
La favorite Donizetti
Favaritka? It sounded like that in Russian. The darkest thing so far. The Russians love to go very Romantic on things.
Arsace! not the obvious choice from him, either but In si barbara sciagura.
Che faro senza Euridice Gluck (Orfeo)
Really heartfelt, but then again, it’s AH.
Il segreto per esser felice Donizetti (Lucrezia Borgia)
Great to hear Il segreto…! The drinking song with a dark undertow. One of the first mezzo arias I got into, in that random manner one does. I want to listen to it on repeat now. Is there something she can’t sing?
When an opera is based – more or less – on “real events”, I want to get slightly better acquainted with the facts as they have come down to us. I’m not a historian and you shouldn’t expect this to be a history lesson. It’s pretty much the fun facts a quick read on Wiki will reveal. I’m doing this because I like a bit of a backstory myself but I don’t always want to research things right then and there, so I’m grateful if someone’s written a brief synopsis.
First off, these folks are not Babylonians (they originate from the town of Babylon) but Assyrians (they originate from the town of Assur). They do fight (and win against) Baylonians, to whom they are related (ie, they are all Semitic tribes). They have the coolest BCE names ever.
Sammurāmat / Sammuramāt (811-808 BC) – Regent of Assyria, empire named after its capital city, 𐎠𐎰𐎢𐎼 (Aššur), during the Neo-Assyrian Empire (911-608 BC). At the time, the Empire was the largest of its kind and the most technically advanced nation of the Ancient World (hence the Hanging Gardens1; but apparently not savvy enough regarding basement lighting 😉 ). Women weren’t held in such high regard back then for it to be a common thing to rule as Regents, but the Wiki source speculates she was possibly accepted due to “politically uncertain times”. It appears she was a real person who ruled the empire – or at least was very politically influential – until her son’s coming of age (I could not quickly find what that age was). It isn’t clear how the legend developed, or, even better, how it spread further afield.
If you’re wondering where’s her picture – of course there is no picture, she’s a woman. But there is a large rock, known as her stele. Better that than nothing.
Shamshi-Adad V aka, Nino (824-811 BC) – King of Assyria, named after the rain/storm god of the region (Adad). He is the dude who campaigned against Babylonians and defeated them.
Assur-danin-pal aka, Assur – brother of Shamshi-Adad V, with whom he engaged in a serious power struggle when it came to succeeding their father, Shalmanasser III2. After some early victories which brought to his side 27 cities (including the famous Nineveh (𒌷𒉌𒉡𒀀 – I just love cuneiforms!) which will later become capital and end in fire and brimstone), he was eventually defeated and disappeared from chronicles.
Adad-nirari III aka, Ninia/Arsace (811-783 BC) – King of Assyria, was busy rebuilding the strength of the empire by campainging left and right, building a lot of things and allowing a breathing period for Israel, as long as they paid tribute to him. Sadly, the empire returned to a few decades of weakness after his death.
So, it’s pretty accurate, after all. Assur = bad guy, Nino = struggling with pretenders, Semiramide = ambitious queen, Ninia = recovered well.
- some say the Gardens were built in Babylon but others believe they were in Nineveh. So you see how it is, even historians don’t agree on their Assyria/Babylon. Of course it does not help that the Assyrians destroyed and then rebuilt Babylon and made it the capital of the Neo-Babylonian Empire (609-539 BC). ↩
- named after Shulmanu, god of the underworld, fertility and war. ↩
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. ↩
What with everything, I missed the Gen Sale for the return to Wagner at ROH (oh, no!). The Ring Cycle is back this Autumn, with Pappano at the helm. I may look up returns for Stemme’s sake (aka, best intentions). Otherwise, we have the following:
Solomon in concert with Zazzo in the title role
Verdi’s Requiem with Jamie Barton and Stoyanova; sold out at this point
Simon Boranegra… for those of strong Verdi constitution (but where there is Wagner, there is also Verdi and there will be another production for the hardcore Verdians soon; an opera we know and I love to make fun of, because a recent new production at ENO clearly was not enough)
The Queen of Spades = must not forget
Traviata for the casual goer – it’s still the much loved production
Katya Kabanova – I’ll probably go
Così returns but don’t count me in
Insights Masterclass with soprano Angel Blue who’s doing a stint of Traviata this season
La forza del destino 😉 yep, that one, in Loy’s vision; with Trebs and the Alvaro of our times
Faust – hm, I might go, see how Damrau is holding up, PLUS it’s got Abrahamyan in her ROH debut (!) as Siebel (let’s all lament the fate of very good mezzos). On the downside, Ettinger conducts.
Billy Budd conducted by Ivon Bolton – the all male cast opera, let’s check it out…
Andrea Chenier – NOT with the Alvaro of our times but with Alagna and Radvanovsky! How can we resist that offer?!
Tosca with Opolais/Grigolo/Terfel but the last show brings Draculette back to her rightful territory so yay for those who care.
Boris Godunov still with Terfel but without Ain Anger; so soon? Maybe because they were short of money for a new production…
Carmen, because we’d already missed her, this time with Margaine, and Pisaroni as Escamillo, ha!
Figaro after a couple of seasons, because there are only 3 operas and 1/2 by Mozart; this is the season with Kimchilia Bartoli as Cherubino but also unusually with Gerhaher as Figaro plus Keenlyside as the Count. You know it might actually be worth revisiting and weirdly enough, for the men.
La fille du regiment returns once more, now with Devieilhe, and Camarena will show us his 3283576 high C in a row. Then again, Pido conducts.
In conclusion, some interesting turns but generally a rather meh year ahead for yours truly’s taste.
La damnation de Faust – a Richard Jones production, so it could be much fun
Rusalka – nah
Il barbiere – see below
Die Zauberflote – I’ll have to see it at some point, don’t know that this is that point; however, Agathe, David Portillo is Tamino 😉
Cendrillon – usually a spectacular mezzo-mezzo borefest, now with DeNiese and the ever trouserable Kate Lindsey; I mean, they had to make up for the music…
Rinaldo with DeShong in the title role. A bit of a strange choice IMO, but to be honest I have not heard her live and in Handel to boot. I was proven wrong before.
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.
A woosh of dread went through the packed hall when an announcer came out, so strong I thought it would push her back to where she’d come from.
Announcer: No, no, no, everything is fine. All I wanted to say is that JDD had a respiratory infection last week but she is much better tonight. Enjoy the evening!
Frenetic applause and a general sigh of relief. More applause when Pappano came out (there normally are, but these were extra jaunty).
Let’s start with the conclusion: thank you Pappano and all. You convinced me this is truly a great opera and I wish it made its way back into the repertoire so we can hear/see it more often. Rossini outdid himself here. It’s got it all somehow melded into a whole: his playfulness, his expertise with the opera seria formula, lots of innovation and the great tunes never stop.
One of the great things about it is that Rossini knows how to write for the voice and won’t let the orchestra intrude but he has also written excellent instrumental parts. Also peppering the score with ensembles and keeping the choir active really makes a difference in regards to pacing (always fresh).
However, it most likely needs a great team – top singers and a very intelligent conductor. An insightful production doesn’t hurt. It really is shortchanged when the focus is on noodling runs of coloratura or if the conductor thinks the drama needs too much push. Pappano trusts Rossini and focused on bringing out all the inventive details, which are a pleasure to hear. His voice-orchestra balance was optimal.
Compared to the 25th it was like this: Arsace and Semiramide’s act II duet = best moment of the night (and not just in my opinion either. My seatmate dubbed it “fantastic!”, lots of applause and shouts etc. and some teary eyes from me). I just wanted it to go on and on (and luckily Rossini knows a good thing, so, as most duets here, it’s quite long). I still think Ah, come mai quell’anima is the more beautiful duet but this is wonderful, especially with Barcellona and JDD who work together so well. Have a listen to how they sounded in Munich earlier this year (imo, not nearly as good. I actually don’t like that recording and I’m glad I didn’t listen to it before going. I had to agree with the commenter who heard JDD off pitch a lot of the time. Esposito came off majorly bland of tone (to me, who am not his greatest fan to begin with). The duet is beautiful, though).
Brownlee (still no ping, from the lower slips in the auditorium) had some of the most amazing floated notes I’ve ever heard in Ah dov’è il cimento? Seriously, that stuff was staggering, to the point I had to remember where my loyalties lay 😉 cue in severe shaking from Azema1 and that quip about how if she didn’t think Arsace was the biggest hero in the world she’d totally go for Idreno. Don’t listen to his 2013 rendition found on ‘tube as it’s vastly inferior. Sadly it seems to be his only rendition on youtube.
His interaction with JDD in the act I finale, where everybody was trying to come to terms with the appearance of Nino’s ghost was acoustically interesting: his lines were louder than hers but this appeared deliberate, giving a very welcome depth to the sound. However his act II aria saw surprising ups and downs in concentration, which makes this performance one of the most curious I’ve witnessed.
Pertusi’s pre-mad aria recit was again his strongest moment – he’s really good at that kind of thing, vivid and credible. Also he had many very Verdian flashes through the night (and I mean that in a good way. Philip II was calling?). JDD did sound (even) more cautious with the very highs and I think I remember a moment where the sound came out a bit unfocused but other than that she was as strong and committed as usual.
Now that I could focus more on things other than the immediate impact, I thought Arsace spends a lot of time in the lower recesses of the mezzo voice, so perhaps this is a reason VK never sang it (as her voice is darker rather than low, where Barcellona’s is both dark and solidly low). I’m now compelled to hear Hallenberg’s take again. I also had time to realise I’ve been spending so much time listening to Baroque specialists that even a little – understandable – vibrato throws me a bit (Barcellona and Pertusi). I won’t fault them, of course, but it was interesting to see how little JDD uses in comparison. Come to think of it, Brownlee did the same. Unless he has the type I don’t catch. Might be an issue of American vs Italian style?
The choir was (I think) better this time, thought the beginning of the opera still posed challenges.
She may be wicked but she is my mother
Arsace as a character is a bit underdeveloped for contemporary sensibilities, which is why, I suppose, he’s given a pony 😉 I’ve noticed this thing in pre mid-19th century opera (though, come to think of it, heroes continue to be rather intellectually fluffy (see all Wagner)), where we have supposedly accomplished warriors/strategists act very naively in private matters. They are also way too young for those military accolades. Something’s got to give, eh, and that is usually intelligence.
As per libretto Arsace is characterised by being brave (commander of the Babylonian army at the tender age of… about 25, I’d say), dutiful (rushes back to headquarters when Semiramide calls and is unwaveringly on her side even before he learns she’s his mother) and very much in love (his entrance aria reminisces about how he saved Azema from marauders and then their eyes met = opera love).
All of a sudden he’s hit with major existential questions, which he is ill equipped to answer. Then again, who of us would have an easy time with a mother who wants to marry us and who has also, incidentally, offed our father? Plus the realisation that we’re next in line as the country’s top honcho? All of these revelations in one day, the same day we were merely supposed to announce our wedding (to someone else than the mum)! Barcellona is very good at portraying the youthful hero with all his youthful imaturity mixed with the earnest desire to do the right thing by everyone. I have cats to hug when things get weird, why shouldn’t Arsace have a pony? I also see that moment as his return to his childhood room, with the pictures and the toys one’s parents keep in the attic (or spare room).
The ending is rather poignant, with the hacked to death Semiramide reaching wordlessly (a victory for realism! thank you, Rossini) towards her son and Arsace’s duty tragically winning over love in grand opera seria style, as he ascends the stairs to the throne and glory. For his unexpected ascension to top honours he looks shattered so who knows che mai sarà.
Singing-wise, Barcellona was the picture of understated poise, with excellent stamina and that beautiful lyric tone needed for best results in belcanto trouser roles.
So now that this first ever ROH run is over I can’t wait until they revive it 😉 hopefully with a similarly strong cast and Pappano (or someone else who can do Rossini justice on this level).
- Agathe, you were right, that seems to be D. Alden’s shorthand for severe emotion (“moved” indeed). ↩