|
|
|
|
|
The Associated Press, November 9, 2011 |
By MIKE SILVERMAN |
|
Ciléa: Adriana Lecouvreur, New York, Carnegie Hall, November 8, 2011 |
|
Rare Gheorghiu sighting in Carnegie 'Adriana'
|
|
Cilea's "Adriana Lecouvreur" is an opera that needs a diva of the first
magnitude to make it worth reviving. With her own career seemingly as
tempestuous these days as that of the title character's, Angela Gheorghiu
definitely fills the bill.
And the Romanian soprano did not
disappoint her many fans at Carnegie Hall on Tuesday night, offering prima
donna glamour and excitement to spare — and some sumptuous, if uneven,
vocalism as well.
The occasion, Gheorghiu's only scheduled New York
appearance of the season, was a concert performance of the 1902 verismo
melodrama presented by the Opera Orchestra of New York. Her impressive
co-stars were German tenor Jonas Kaufmann, Georgian mezzo-soprano Anita
Rachvelishvili and Italian baritone Ambrogio Maestri.
The opera,
loosely based on the life of a French actress of the early 18th century, has
a ludicrously tangled plot involving secret doors, mistaken identities and a
poisoned nosegay of violets that eventually finishes off the heroine.
But it offers a juicy role for a singer who can wrap her voice around
two luscious arias and several duets and who, at a climactic moment in Act
3, can declaim with dramatic flair a speech from Racine's "Phedre."
Gheorghiu had success performing "Adriana" in concert in Berlin and in a
staged production at London's Royal Opera House last year. But it's not an
ideal role for her at this point in her career of more than 20 years.
Much of it lies in the lower and middle register, where Gheorghiu's
voice is thinning out dangerously. Even with conductor Alberto Veronesi
keeping the orchestral accompaniment as soft as possible, whole stretches of
her singing were all but inaudible.
However, the glory of her voice
remains intact where it has always been strongest: in her gorgeous, melting
high notes and her ability to shape long phrases with uncommon
expressiveness.
Kaufmann, in the role of Adriana's lover,
Maurizio, was superb, singing with passion, tenderness and ringing high
notes.
As Adriana's jealous rival, the Principessa di
Bouillon, Rachvelishvili was frustratingly uneven. She has the blazing power
and gutsy chest notes the part requires, but above the staff she
consistently sang slightly flat.
Maestri was excellent as Michonnet,
the aging stage manager who is hopelessly in love with Adriana. He created a
sympathetic, three-dimensional character, his baritone powerful but nuanced.
If all had gone as planned a year ago, Gheorghiu would now be spending
her days alongside Kaufmann in rehearsals for a new production of Gounod's
"Faust" at the Metropolitan Opera.
But the soprano — who has
developed an unfortunate reputation for canceling engagements — announced
last spring that she was withdrawing because of "artistic differences" with
the director. Her career has also been complicated by her on-again,
off-again marriage to tenor Roberto Alagna, who for years partnered her in
many of their appearances.
Gheorghiu may never have been quite "the
most glamorous and gifted opera singer of our time," as her biographical
note in the program claims. But she remains a formidable artist whose rare
talents continue to provide great pleasure.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|