Wednesday, November 23, 2022
HomeOperaChuckle, chuckle, I almost died « parterre field

Chuckle, chuckle, I almost died « parterre field

Apparently British director Adele Thomas did. In her first manufacturing for Zurich Opera, which premiered final season, Thomas peered deep into tragic story, solely to find that comedian aid was simply the factor it wanted.

Di Luna’s troopers would have been proper at residence in a Monty Python movie, whereas Manrico’s males have been a cross between the Muppets and the friendlier denizens of The Lion King. Nothing like one thing comfortable and cuddly to organize you for Manrico’s severed head entrance and middle because the curtain fell on the finish of the opera.

Ferrando (the spectacular Robert Pomakov) additionally acquired particular remedy within the type of outsized webbed ft. He was accompanied by writhing figures, who interjected fixed motion, when stillness would have been way more welcome.

Thomas stored the motion within the fifteenth century; Hieronymus Bosch provided the inspiration for her flights into grotesque fantasy. Costumes set the interval, as there was no set per se, solely a staircase encased by a number of prosceniums. The phrases “Mi vendica,” or “Avenge me,” have been written above the stage.

Nonetheless, there have been scenes of magnificence corresponding to when Leonora is about to take her vows as a nun, and later when she and Manrico have been framed by exquisitely crafted gold steel work as they put together for his or her wedding ceremony.

A moderately welcome shock got here when Thomas distributed with the silliness and nonstop movement altogether for a lot of the third and fourth acts. Certain sufficient although, Ferrando and his accomplices slithered again on stage in loads of time for Manrico’s execution.

Arturo Toscanini’s quip that each one is required to solid Il trovatore are the 4 greatest voices on the earth, didn’t materialize for this efficiency. Artur Ruci?ski’s di Luna and Yulia Matochkina’s Azucena, nevertheless, almost certainly would have met the maestro’s expectations.

Ruci?ski’ managed to look noble even when costumed in a pink tunic emblazoned with a pink coronary heart. His di Luna existed on one other aircraft than that of his troopers, showing oblivious to their antics. Extra importantly, he sounded magnificent. His voice blazed in “Il balen del suo sorriso,” which was essentially the most spectacular singing of the efficiency.

Matochkina reached related heights in her portrayal of the Romani lady intent on avenging her mom’s loss of life on the hand of di Luna’s father. She was spellbinding in “Stride la vampa” and in her duet with Manrico, “Ai mostri monti ritorneremo”. Within the latter, Matochkina expressed her longing to return to the mountains with a far-away dreamlike simplicity and actually stunning sound.

Elena Mo?uc’s basically lyric soprano was ill-suited for Leonora. She might float beautiful excessive notes, as she did in each “Tacea la notte placida” and “D’amor sull’ali rosee,” however in any other case she lacks the vocal sources for the position.

Tenor Stefano La Colla had an off night time. For a lot of the first two acts, he sang with an unattractive nasal twang after which slugged his approach by means of “Di quella pira”. The aria was marred by pressured excessive notes and pitch issues. After that, La Colla mustered his vocal sources for the “Miserere” and his duet with Azucena, however it was far too late within the sport to rescue his efficiency.

The boys of the Zurich Opera Refrain relished the chance to have a lot enjoyable on stage and sang with unbounded enthusiasm. The sounds from the pit have been simply as thrilling, with the orchestra responding to conductor Paolo Carignani’s each want. He led a dramatic, and incisive studying of the rating and was additionally seemingly oblivious to what was transpiring on stage.

Images: Monika Rittershaus



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