Nadcházející produkční recenze
1Der Inszenierung gelingt es damit, die Rollen zu erweitern, da gleich auf ein paar andere Versionen angespielt wird.[...] Auch Dandini, dem mit großem Geschick Samuel Chan seinen spielerisch leichten Bariton leiht, gelingt seine Rolle vortrefflich. The production succeeds in expanding the roles, as a few other versions are alluded to.[...] Dandini, to whom Samuel Chan lends his playful, light baritone with great skill, also succeeds in his role excellently.
Předchozí recenze výroby
9Der Inszenierung gelingt es damit, die Rollen zu erweitern, da gleich auf ein paar andere Versionen angespielt wird.[...] Auch Dandini, dem mit großem Geschick Samuel Chan seinen spielerisch leichten Bariton leiht, gelingt seine Rolle vortrefflich. The production succeeds in expanding the roles, as a few other versions are alluded to.[...] Dandini, to whom Samuel Chan lends his playful, light baritone with great skill, also succeeds in his role excellently.
La Stagione 2023 del Teatro Alighieri di Ravenna torna in scena, dal 14 gennaio al 23 aprile, con tre titoli d’opera – per i quali la meravigliosa “fabbrica” del teatro è in prima linea per impegno produttivo – e tre appuntamenti con la danza che alternano energie italiane a ospiti internazionali. Il percorso Opera si apre con il debutto della produzione de Il Tamerlano di Vivaldi, con Accademia Bizantina guidata da Ottavio Dantone e la regia di Stefano Monti (14, 15 gennaio); prosegue con la ripresa della Bohème nata dalla regia di Cristina Mazzavillani Muti nel 2015 e per la quale l’Orchestra Giovanile Luigi Cherubini è diretta da Nicola Paszkowski (24, 26 marzo); si corona con la nuova coproduzione de Il barbiere di Siviglia, con Luigi De Angelis (Fanny & Alexander) alla regia e Giulio Cilona sul podio dell’Orchestra Regionale Filarmonia Veneta (21, 23 aprile). La programmazione Danza si inaugura invece con la MM Contemporary Dance Company e un dittico fresco di debutto, Ballade di Mauro Bigonzetti ed Elegia di Enrico Morelli (12 febbraio). La Kibbutz Contemporary Dance Company presenta Asylum del suo direttore Rami Be’er (4, 5 marzo), mentre la Serata Stravinskij proposta dal Malandain Ballet Biarritz rilegge L’uccello di fuoco e La Sagra della primavera (11, 12 marzo).
Ben riuscita invece la Berta di Irina Bogdanova, simpaticamente dispettosa verso Rosina e ben cantata.
Berta di Irina Bogdanova, che convince e raggiunge punte di espressività da soprano lirico di razza giocando nel modo migliore la carta dell’unica sua aria ‘Il vecchiotto cerca moglie’.
A revival of the 1993/94 Gilbert Deflo production of Rigoletto is enjoying a sweeping success at Milan’s Teatro alla Scala, where baritone Leo Nucci interrupted a long standing tradition, and encored the duet ‘Sí vendetta’ at the end of the second act, together with soprano Nadine Sierra. This gave rise to long discussions in the local media and among opera fans: as is well known, several conductors at La Scala have discouraged encores, starting with Toscanini. Muti had the same approach, even though he himself encored the chorus ‘Va pensiero’ in a Nabucco performance in 1986. That was the last encore heard in a Verdi opera and, notably, it was not by individual singers. Only Juan Diego Flórez encored the aria ‘Ah mes amis’ in Donizetti’s La fille du régiment in 2007 (but it would have been an exception for him not to encore that aria). The ongoing discussion had aroused the audience’s expectations, and at the second performance there were pressing requests for encores addressed to Nucci as early as the first act, along with much applause throughout. At the end of the second act, the curtain fell. Nucci and Sierra remained on the forestage and again decided to repay their fans’ appreciation: they quickly consulted with the maestro and the general manager with a simple eye contact and encored the duet, to the audience’s enthusiasm. Nucci has sung Rigoletto about 500 times and the baritone is by now a leading exponent in this role and identifies with it completely. At his side, American soprano Nadine Sierra, making her company debut, was a compelling Gilda: her youthful looks and her lightly colored voice proved especially appropriate for the naive and idealistic young daughter of the hunchback (who, by the way, did not have a hunch in this production). Tenor Vittorio Grigolo was the Duke. This singer can rely on a sizable voice, evenly colored throughout the range, with long breaths and good technique, but unfortunately his taste leaves much to be desired, and so does his discipline, as he often did not comply with the conductor’s choice of tempi. Bass Carlo Colombara, making his role debut, was a good Sparafucile, while mezzosoprano Annalisa Stroppa's small voice made her barely audible during the third act quartet. The classic sets and costumes by Ezio Frigerio and Franca Squarciapino offer a visually convincing setting for the action, and have the merit that they follow strictly the libretto. It is not easy to bring something new to the conducting of Rigoletto at La Scala, but Nicola Luisotti’s reading of the score was refreshing, and his brisk tempi captivated the audience. At the end, all the singers received a tribute of applause, especially rich for Nadine Sierra, and with a real triumph for Leo Nucci.
Davide Levi conducts this musically dense and Mozartian work, that grants each soloist interesting arias, with a lot of verve, leading the singers excellently.
The young Italian Maestro Davide Levi was in charge of the musical direction, who showed a high professional level and kept control over the orchestra throughout the performance, demonstrating a thorough knowledge of the opera. He did particularly well in the finales of the two acts, where he managed to show the different expressive aspects in a very satisfying way. […] under his baton, the Orquesta Sinfonica de Tenerife appeared well rehearsed, with clear lines, good balance and splendid moments. His work with the singers was also very satisfying.
