Acting
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When Rossini’s opera Le Siège de Corinthe was premiered in 1826 in Paris it became a huge success all over Europe. The Rossini Opera Festival presents the opera in a new production from Carlus Padrissa of the Barcelona collective La Fura dels Baus, “which here has one of its most interesting shows” (connessiallopera.it). Artistically “Roberto Abbado holds the ranks excellently and supports a well-cohesive and balanced cast” (L’ape musicale) “where bass-baritone Luca Pisaroni growled fearsomely as Sultan Mahomet, tenor Sergey Romanovsky as Néoclès matched a warm tone with pinging top notes, and tenor John Irvin was self-assured as Cléomène, but soprano Nino Machaidze as Pamyra thrilled most of all, as she purred effortlessly through pyrotechnic coloratura” (Financial Times).
Recorded during the 2018 Donizetti Festival, Il castello di Kenilworth was first staged at Naples’s San Carlo in 1829. Based on a novel by Sir Walter Scott and adapted by librettist Leone Tottola, this rare opera has long been unjustly neglected. The recording features the original version of the score, with the role of Warney entrusted to a tenor (the composer changed the voice to baritone in his 1836 revision). Il castello di Kenilworth was followed by several other successful works that Donizetti similarly based on British history (Maria Stuarda, Anna Bolena, Rosmonda d’Inghilterra, Emilia di Liverpool, Lucia di Lammermoor); it presents the character of Queen Elizabeth I, torn by the inner struggle between a monarch’s duty and a woman’s feelings. The fundamental pivot of the drama is the antagonism between the two female characters who both dwell and suffer in loneliness in a male-dominated world.
Inspired by Beaumarchais' comedy, Rossini retains all the passion to create this bubbling opera buffa. A native of Venice, the cradle of the commedia dell’arte, Damiano Michieletto is sensitive to the burlesque vein of Rossinian music. He transposes the action of this "unnecessary precaution" into a contemporary Seville inspired by the cinema of Almodóvar. Bartolo’s monumental building, in which Figaro swirls in free electron, allows the director to give free rein to his crazy imagination.
Nadine Sierra summits another peak of the soprano repertoire as Amina, who sleepwalks her way into audiences’ hearts in Bellini’s poignant tale of love lost and found. In his new production, Rolando Villazón—the tenor who has embarked on a brilliant second career as a director—retains the opera’s original setting in the Swiss Alps but uses its somnambulant plot to explore the emotional and psychological valleys of the mind. Tenor Xabier Anduaga co-stars as Amina’s fiancé, Elvino, alongside soprano Sydney Mancasola as her rival, Lisa, and bass Alexander Vinogradov as Count Rodolfo. Riccardo Frizza takes the podium for one of opera’s most ravishing works.
First seen in Naples in 1827, this farce of a “theatre within a theatre” narrates the mishaps of a second-rate opera company as it stages the great serious drama Romolo ed Ersilia in a provincial theatre. The unbearable tensions between the two lead singers are finally resolved with the decisive intervention of one of their mothers. The co-production by Ópera de Lyon along with the Grand Theâtre de Genève and Teatro Real is brought to life by Laurent Pelly, a tireless champion of Donizetti's comedies.
From Rome's Parco della Musica auditorium, the Orchestra and Choir of the Accademia Nazionale di Santa Cecilia perform: A Tribute to the Melodramas of Bellini and Donizetti.
