{"id":30292,"date":"2012-02-16T00:47:00","date_gmt":"2012-02-15T22:47:00","guid":{"rendered":"http:\/\/www.gbopera.it\/?p=30292"},"modified":"2017-01-07T19:50:13","modified_gmt":"2017-01-07T18:50:13","slug":"paris-opera-bastillerigoletto","status":"publish","type":"post","link":"https:\/\/www.studioroldo.it\/gbopera\/paris-opera-bastillerigoletto\/","title":{"rendered":"Paris, Op\u00e9ra Bastille:”Rigoletto”"},"content":{"rendered":"

Parigi, Op\u00e9ra Bastille, Stagione Lirica 2011\/2012
\n<\/em>“RIGOLETTO”<\/strong>
\nMelodramma in tre atti su\u00a0 libretto di Francesco Maria Piave da Le roi s\u2019amuse<\/em> di\u00a0 Victor Hugo
\nMusica di Giuseppe Verdi<\/strong>
\nIl Duca di Mantova <\/em>PIOTR BECZALA
\nRigoletto <\/em>ZELJKO LUCIC
\nGilda <\/em>NINO MACHAIDZE
\nSparafucile <\/em>DIMITRY IVASHCHENKO
\nMaddalena <\/em>NANCY FABIOLA HERRERA
\nGiovanna <\/em>CORNELIA ONCIOIU
\nMonterone <\/em>PAUL GAY
\nMarullo <\/em>FLORIAN SEMPEY
\nMatteo Borsa <\/em>VINCENT DELHOUME
\nIl conte di Ceprano <\/em>AlLEXANDRE DUHAMEL
\nLa contessa di Ceprano <\/em>ILONA KRZYWICKA
\nPaggio della duchessa <\/em>MARIANNE CREBEASSA
\nCoro e Orchestra dell’Op\u00e9ra National de Paris
\nDirettore Daniele Callegari<\/strong>
\nMaestro del Coro Alessandro di Stefano<\/strong>
\nRegia J\u00e9r\u00f4me Savary<\/strong>
\nScene Michel Lebois<\/strong>
\nCostumi Jacques Schmidt, Emmanuel Peduzzi<\/strong>
\nLuci Alan Poisson
\n<\/strong>Parigi, 27 gennaio 2012
\n<\/em>J\u00e9r\u00f4me Savary\u2019s staging of Rigoletto, first performed in 1996 a<\/strong>nd revived many times since, is conventional and rather static. It also lacks acting directions. Musical director Daniele Callegari gave a straight reading of the score without getting too involved. The prelude to the opera, already so short, had no declamatory weight. On the other hand, another short passage, Verdi\u2019s understated writing in Rigoletto\u2019s La ra la ra <\/em>sequence with the courtiers before his aria, was given too much significance. This opening night seemed in fact more like a general rehearsal.
\nPolish tenor Piotr Beczala<\/strong> (The Duke of Mantua) was immediately a model of self-control and composure. He sang Questa o quella <\/em>centre stage with ardent conviction, clear dynamic terracing and fine legato, his whole body relaxed to focus and project the voice. A fine musician, Beczala portrayed the cynical Duke without any flurry of erotic staging to assist him. The ball behind him was a rather staid affair, the chorus promenading aimlessly amid the crumbling palace walls. Absence of specific stage directions meant that otherwise promising singers like Florian Sempey<\/strong> (Marullo), Vincent Delhoume<\/strong> (Borsa), even Paul Gay<\/strong> (Monterone), tended to fall into the trap of involuntary gesticulation.
\nSerbian baritone Zeljko Lucic<\/strong> (Rigoletto) sang with assurance. His voice has the right tawny color, the powerful projection, the sustained top notes, but he navigated too comfortably through all the contradictions of this complex character. Rigoletto\u2019s predicament should be a cause for greater anger and less plaintiveness. As a victim who takes vengeance into his own hands, Lucic needed more roughage, more bite. Cortigiani, vil razza dannata<\/em> was his most powerful moment.\u00a0 Georgian soprano Nino Machaidze<\/strong> (Gilda) has great scenic qualities but tonight she was disappointing vocally. Uncontrolled vibrato and rhythmic instability often turned her phrasing into a series of effects with no line. Caro nome <\/em>lacked the calmness of an inner pulse, the sustained pianissimo and the bell-like coloratura it needs. Machaidze seemed to be singing without enjoyment. As a result, her top voice was forced and uninviting.
\nIn Act II, Beczala sang his opening aria, Elle mi fu rapita<\/em>, with a purity of line that brought new depth to the role. A slave to casual sex, here the Duke aspires to fidelity. Beczala\u2019s cadenzas and trills had high-powered interior rhythm. La donna e mobile<\/em> was a little shaky at the end of the first verse, but here Beczala proved himself a force to be reckoned with by increasing vocal intensity each time, right up until his final echo off stage.
\nBasse Dimitry Ivashchenko<\/strong> (Sparafucile) was compelling as the hired assassin. His dark penetrating timbre carved out lines with the precision of a killer\u2019s knife.\u00a0 Mezzo-soprano Nancy Fabiola Herrera<\/strong> (Maddalena) has a naturally radiant voice that brought a particular color to Bella figlia dell\u2019amore<\/em>. To Gilda\u2019s despair, the Duke\u2019s cynicism and Rigoletto\u2019s desire for vengeance, she added a touch of Spanish sensuality.\u00a0 The audience gave the work a most enthusiastic reception. Rigoletto plays until February 23rd<\/sup>.<\/p>\n

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