{"id":66569,"date":"2012-10-20T16:31:25","date_gmt":"2012-10-20T14:31:25","guid":{"rendered":"http:\/\/www.gbopera.it\/?p=66569"},"modified":"2018-08-08T18:07:57","modified_gmt":"2018-08-08T16:07:57","slug":"leipzig-opernhausrigoletto-3","status":"publish","type":"post","link":"https:\/\/www.studioroldo.it\/gbopera\/leipzig-opernhausrigoletto-3\/","title":{"rendered":"Leipzig, Opernhaus:”Rigoletto”"},"content":{"rendered":"

Leipzig, Opernhaus, Stagione Lirica 2012\/2013<\/em>
\n“RIGOLETTO”<\/strong>
\nMelodramma in tre atti su libretto di Francesco Maria Piave dal dramma Le roi s’amuse<\/em> di Victor Hugo
\nMusica di Giuseppe Verdi<\/strong>
\nIl Duca<\/em> LEONARDO CAPALBO
\nRigoletto<\/em> VITTORIO VITELLI
\nGilda<\/em> EUN YEE YOU
\nSparafucile<\/em> JAMES MOELLNHOFF
\nMaddalena<\/em> KARIN LOVELIUS
\nGiovanna<\/em> CAROLIN MASUR
\nConte di Monterone<\/em> JURGEN KURTH
\nMarullo<\/em> SEBASTIAN WARTIG*
\nMatteo Borsa<\/em> VIKTOR SAWELY
\nConte di Ceprano<\/em> SEJONG CHANG
\nContessa di Ceprano<\/em> ANAT EDRI*
\nUn usciere di corte<\/em> FRANK WERNSTEDT
\nUn paggio<\/em> OLENA TOKAR
\nGewandhausorchester
\nCoro maschile Oper Leipzig
\n* Allievi della Hoschule fur Musik un Theater “F.Mendelssohn Bartholdy” Leipzig.
\nDirettore Matthias Foremny<\/strong>
\nMaestro del Coro Alessandro Zuppardo<\/strong>
\nRegia Anthony Pilavachi<\/strong>
\nScene e costumi Tatjana Ivschina<\/strong>
\nLipsia, 13 ottobre\u00a0 2012
\n<\/em>Leipzig\u2019s first production of the new season, Rigoletto<\/em>,<\/strong> had the Good, the Bad, and in contrast with so much German Regietheater, only a little bit of the Ugly. Directed by prize winning Anthony Pilivachi<\/strong>, the evocative production managed to bring Verdi\u2019s dark melodrama to fruition despite substandard musical and vocal performances by all except the title character. Pilivaki managed a deft combination of large picture combined with detail and striking images, as well as a final scene contrasting the Duca\u2019s frivolous eroticism with both Maddalena and Gilda\u2019s tragic attraction to his charm. which along with the superior Rigoletto of Vittorio Vitelli<\/strong> brought this signature middle work of Verdi to life for the Leipzig public. Spatial relationship and physical gesture delineated the drama rather than character development and expression, and of the singers, only Vitelli\u2019s Rigoletto had any depth or life. In the Regietheater spirit of \u2018Wiederspruch\u2019, or emphasis by the opposite, Pilavachi and his designer Tatjana Ivschina<\/strong> simplified the Duca di Mantova\u2019s sumptuously decadent digs, while making Rigoletto and Gilda\u2019s \u2018remota..dimora\u2018 a stage filling, multilayered, darkly detailed set reminiscent of Zefferelli\u2019s Metropolitan La Boh\u00e9me. This proved effective but reduced the Duca\u2019s show of charm and power mostly to leaping on and off his white tablecloth bedecked bare banquet table. \u00a0Ivschina\u2019s neutral dark costumes subtly highlighted the protagonists brighter garb.
\nThe marvelous Gewandhaus Orchestra which can play like a BMW sedan,<\/strong> seemed more like an old Skoda under Maestro Matthias Foremny<\/strong>\u2019s direction, always in the wrong gear, lurching to match cadenzas, showing neither grace, controlled power nor elegance. An orchestra which played the most sumptuously elegant minuetto as the Duca seduces the Contessa di Ceprano\u00a0 and a heart rending cello obligato in Rigoletto\u2019s \u2018Ah, miei signori piet\u00e1, perdono<\/em>\u2018 cannot be faulted for such and unmusical and clumsy evening.
\nBoth Gilda (Eun Yee You<\/strong>) and the Duca di Mantova (Leonardo Capalbo<\/strong>), while young, agile and attractive, seldom exceeded the standards of finalists in an international singing competition. Inconsistent and artificial vocalism barely fulfilled the basic demands of their roles, resulting in sometimes unattractive and inconsistent high notes, lack of phrasing or line and often in Gilda\u2019s case, inaudibility as a substitute for nuance. Nonetheless many cuts were opened and cadenzas added, perhaps to give the singers a second chance to get it right. The conductor could not have been a help, and the tenor and baritone clearly struggled with inflexible, unsuitable tempi. Vitelli, who pulled off a very fine \u2018Cortigiani\u2018<\/em> did not have enough voice for \u2018Si vendetta<\/em>\u2019, especially in the face of the crude racket Foremny allowed at the end. Vitini nonetheless created an often moving Rigoletto with his vocal coloring of the text and effective high notes.
\nExcept for the Duca and Rigoletto all roles were cast from members of the Leipzig ensemble.<\/strong> The full voiced but sometimes uneven Sparafucile of James Moellenhoff<\/strong> cut a good figure onstage and was vocally more effective in his first meeting with Rigoletto. The statuesque Maddelena of Karin Lovelius<\/strong>, smoothly produced and strongest in the lower register, provided the perfect foil for the clownish staging of the famous Quartet (Bella figlia dell\u2019amore<\/em>). Both Viktor Sawaly<\/strong> as Borsa and Sebastian Wartig<\/strong> as Marullo showed attractive voices and good style. With the exception of J\u00fcrgen Kurth<\/strong>\u2019s shaky Monterone, all the ensemble based comprimari did well and Carolin Masur<\/strong> was a particularly effective Giovanna. The Men\u2019s Chorus delivered an excellent \u2018Zitti, zitti\u2018 but stage-pit coordination was a major problem for all parties in Act one.\u00a0 Despite generally tepid applause for some of opera\u2019s greatest hits, this production was enthusiastically received at the end. It will be fascinating to see how it holds up, especially if it gets the music making and singing the opera deserves.<\/p>\n","protected":false},"excerpt":{"rendered":"

Leipzig, Opernhaus, Stagione Lirica 2012\/2013 “RIGOLETTO” Melodramma in tre atti su libretto di Francesco Maria Piave dal dramma […]<\/p>\n","protected":false},"author":85,"featured_media":93413,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[6416,6411,9354,153,9477,6413,1064,6415,9475,145,102,9476,4402],"class_list":["post-66569","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-senza-categoria","tag-anthony-pilavachi","tag-eun-yee-you","tag-foreign-readers","tag-giuseppe-verdi","tag-james-moellenhoff","tag-karin-lovelius","tag-leonardo-capalbo","tag-matthias-foremny","tag-oper-leipzig","tag-opera-lirica","tag-rigoletto","tag-tatjana-ivschina","tag-vittorio-vitelli"],"_links":{"self":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/66569","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/users\/85"}],"replies":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/comments?post=66569"}],"version-history":[{"count":1,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/66569\/revisions"}],"predecessor-version":[{"id":88086,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/66569\/revisions\/88086"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media\/93413"}],"wp:attachment":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media?parent=66569"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/categories?post=66569"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/tags?post=66569"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}