Předchozí recenze výroby
6Composta da un Wolfgang Amadeus Mozart dodicenne, La finta semplice è un’opera per certi versi problematica: non si sa con esattezza quando avviene la prima rappresentazione (si suppone nella primavera del 1769 nel Palazzo Arcivescovile di Salisburgo), in quanto quella programmata a Vienna l’anno precedente naufraga per l’avversione dell’establishment musicale della capitale, e i giudizi critici su questa che può essere considerata la prima prova organica del Mozart operistico sono sempre molto contrastanti. Un po’ di colpa può averla il libretto di ascendenza goldoniana firmato da Marco Coltellini, che sfrutta tutti i luoghi comuni dell’opera comica del tempo per costruire una trama ingarbugliata e non sempre efficacissima, ma che è comunque piuttosto in linea con la produzione del genere in quel periodo. Tuttavia, la musica è quella di un genio alle prime armi e spesso sembra di udire anticipazioni dai capolavori della Trilogia dapontiana.
The cast of very young people is led here by captain Roberto Scandiuzzi in the role of the old but hilarious Don Pasquale. Now a seasoned actor, he moves with his usual effectiveness in the role of an old selfish who gradually pushes an enthusiastic audience to tenderness for his every move, initiative and above all for how he drags the entire company into his vortex of conflicting emotions. The slightly eccentric Norina by Rosalia Cid Tarrio is splendid : sensual and stable voice in all its modulations, the movements of an expert cabaret artist and a very clever interpreter that convinces and amuses. Pietro Adainihe is one of those promising young people who have been moving with ease in opera houses for some years, interpreting with sensitivity and coherence the roles of sensitive lovers with a delicate and pleasant voice; his Ernesto pleases and convinces despite the fact that in some rare passages he seemed not perfectly focused. Pierpaolo Martella is a slimy and casual Malatesta both vocally, although not bulky in sounds, as scenically; the Notaro by Antonio Feltracco was very entertaining .Also very young is Maestro Ferdinando Sulla who gives a touch of panache without overdoing the Regional Orchestra Filarmonia Veneta . Since the opening, his energy is sharp and portends a lively show full of emotions. But his touch can also become soft and caressing when the moment requires it, accompanying the performers step by step in their singing adventure, without a stick to better 'caress' the notes. The Iris Ensemble choir by Marina Malavasi did well .
[...] Ferdinando Sulla dirige con cura e precisione l’Orchestra Regionale Filarmonica Veneta. Il giovane direttore calabrese conferisce un piglio scattante ed euritmico alla partitura donizettiana sin dalla splendida Sinfonia per poi seguire con perizia i cantanti in assoli ed ensemble. [...] Il pubblico, letteralmente in visibilio, ha applaudito lungamente e con grande trasporto tutto il cast alla fine della recita.
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.
Elina Ratiani, "La Principessa di gelo", after her debut in the role of Turandot in the Teatro Antico of Taormina and the Greek Theatre of Siracusa next to the late and majestic Marcello Giordani in Calaf, in 2020 she was Aida in the same Theatre of Taormina, demonstrated her growing value, knowing how to combine elegance and power within an easily recognizable and unique timbre. What surprised us was the completeness of the young artist. Long, brilliant and singing treble in their fullness, a thundering voice with a dark, romantic timbre. On top of that, her stage presence is in our opinion impressive and her dramaturgical ability, the expressiveness of her face, almost cinematic. Her arrival in Florence, in one of the most important theatres in Italy, has been the confirmation of the attention that the world of opera has for the potential of the young Russian-Georgian singer.
