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music OMH, 22 March 2019 |
by Melanie Eskenazi |
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Verdi: La forza del destino, London, ab 21. März 2019 |
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La forza del destino @ Royal Opera House, London
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If it’s true that some paid vast sums to obtain a ticket for what the ROH
itself billed as this “star studded cast,” was it worth it? Most definitely;
this was an “I was there” event of the kind so rarely experienced. The sense
of anticipation and trepidation in the house last night was almost palpable
– it was a bit like a more monied version of the half hour before a big
match when the team’s supporters are worried that the star goal scorer might
not be fit to play. Happily, all of the big note scorers were on the pitch,
and they sent the fans into transports of joy in spite of the somewhat messy
nature of the overall game.
Anna Netrebko was the undoubted star of
the evening, her voice now ideal for this role from the alternately
impassioned and vacillating first scene to her final exquisite pleas. ‘Me
pellegrina ed orfana’ was a model of what Netrebko herself defined as the
ideal for Verdi singing, in terms of resonance and pure lyrical line, and
‘Pace, pace, mio Dio’ was enthralling in its vocal shading and the melting
quality of the phrasing. In dramatic terms she triumphantly executed the
change from sheltered, cosseted daughter who barely knows her own mind, to
faithful distant lover and tortured penitent.
Jonas Kaufmann’s
singing of Verdi roles is always nuanced and considered, and this Alvaro
continues his very individual exploration of these flawed heroes. His ‘La
vita é inferno all’infelice’ might not have had Corelli’s stentorian appeal
(but then, Corelli was allowed to park n’ bark without the distraction of
having just emerged from a behind-the-flats quickie) but ‘Siviglia! Leonora!
Oh, rimembranza’ tore at the heartstrings as it should. His ‘dying’ scene
with Carlo was mesmerizing in its beauty and finesse, and his portrayal of
the thwarted lover and penitent was entirely convincing.
The starry
pair were supported by an outstanding cast, Ludovic Tézier’s Carlo sharing
the vocal honours with Netrebko and Kaufmann in a performance of absolute
sincerity and true Verdian baritone style. His portrayal of the conflicts
Carlo suffers in ‘Urna fatale del mio destin’ and his fluent, finely phrased
singing in the great duet equalled Kaufmann’s, and their long-drawn out
blood feud provided an exceptionally strong link between the acts.
Ferruccio Furlanetto gave a most moving performance of Guardiano’s great Act
IV aria, full of nobility and grandeur, and Alessandro Corbelli showed once
again that he is the number one choice for roles such as Melitone. Robert
Lloyd blustered and expired splendidly as the Marquis (how often one has
seen this great bass die onstage!) and Roberta Alexander was an ideal Curra,
torn between assisting her mistress and maintaining the status quo. Veronica
Simeoni was a vibrant Preziosilla, making the most of a role which many of
us could happily live without.
William Spaulding had coached the
Royal Opera Chorus to great heights, with splendidly lusty singing which
rose above the antics required of its various members. Christof Loy’s
concept for the Marquis’ stately home and the monastery was well served by
Christian Schmidt’s designs, the setting pleasingly austere in contrast to
the rather over-busy ‘battle’ and feasting scenes. The video projections
were rather suddenly employed, and although some felt them unnecessary,
friends seated in the Amphitheatre were happy with them because “they
allowed us to see the singers’ faces.” The production in general did not
distract from the crucial scenes involving the principals, and one has to
feel gratitude for the concentration on those intimate moments of operatic
splendour.
Sir Antonio Pappano worked his characteristic wonders in
the pit, with an orchestra which has never sounded better – the clarinets
alone touched the heights of grace. That familiar overture has hardly ever
sounded so exciting and yet so doom-laden, and the support given to the
singers was always sympathetic. Both the sparkle of the heavily peopled
scenes and the grandeur of those highlighting the characters’ conflicts were
achieved with direction of great nobility and finesse.
Just a few
more performances with Netrebko and Kaufmann on March 24th and April 2nd and
5th – go if you possibly can, and take our advice on obtaining tickets; get
online at 10 am on your chosen day, and keep looking at intervals in the
hope of returns.
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