{"id":66674,"date":"2013-06-21T14:50:23","date_gmt":"2013-06-21T12:50:23","guid":{"rendered":"http:\/\/www.gbopera.it\/?p=66674"},"modified":"2017-02-09T15:03:38","modified_gmt":"2017-02-09T14:03:38","slug":"2-premieres-in-2-daysnabucco-in-the-arena-2","status":"publish","type":"post","link":"https:\/\/www.studioroldo.it\/gbopera\/2-premieres-in-2-daysnabucco-in-the-arena-2\/","title":{"rendered":"2 Premieres in 2 Days:”Nabucco” in the Arena"},"content":{"rendered":"

Verona, \u00a0Arena di Verona \u00a0Opera \u00a0Festival, Centenary Season 2013.<\/em>
\n<\/em>\u201cNABUCCO\u201d<\/strong>
\n<\/strong>Opera in four acts, libretto by Temistocle Solera
\nComposer Giuseppe Verdi<\/strong>
\nNabucco <\/em>AMBROGIO MAESTRI
\nAbigaille <\/em>\u00a0<\/em>TATIANA MELNYCHENKO
\nZaccaria <\/em>CARLO COLOMBARA
\nIsmaele <\/em>\u00a0<\/em>STEFANO SECCO
\nFenena<\/em>\u00a0<\/em>ANNA MALAVASI
\nHigh Priest of Baal\u00a0 <\/em>FRANCESCO PALMIERI
\nAbdallo <\/em>LUCA CASALIN
\nAnna <\/em>\u00a0MARIA LETIZIA GROSSELLI
\nOrchestra and Chorus of the Arena di Verona
\nConductor\u00a0Julian Kovatchev<\/strong>
\n<\/strong>Chorus master\u00a0Armando Tasso<\/strong>
\n<\/strong>Director\u00a0Gianfranco de Bosio<\/strong>
\n<\/strong>Set design Rinaldo Olivieri
\n<\/strong>Costumes Psquale Grossi<\/strong>
\nVerona, 15th June, \u00a02013
\n<\/em>The chorus and extras of Babilonians were vibrant in their compact monochrome groups in turquoise, cobalt blue \u00a0and fuscia costumes. Their splashes of colour stood out against the stone- hued sets, and they moved swiftly and gracefully on and off the stage, disappearing down the nearest \u2018arcovolo\u2019 exit without trailing away during the following scene, which so often happens in the Arena productions.\u00a0 The soldiers shone in gold and porphry and Abigaille and Nabucco were refulgent in their sumptuous robes. Extras representing the king\u2019s guards, were often deployed\u00a0 harmoniously around the \u2018gradinata\u2019, exploiting the Roman tiered steps in a sweeping panorama.
\nA perfunctory performance by the conductor Julian Kovatchev<\/strong>. The break-neck pace at which he took the first finale, put\u00a0 the stability between stage and orchestra at risk.\u00a0 There was a moment when each went their own way. The chorus, so prominent and fundamental in this opera, sang with precision, but the conductor didn\u2019t seem able to encourage\u00a0 a level of dynamic contrast or colour from them which would have enriched the intensity of their performance.
\nA pity that the beautiful cello solos, notably in the solemn embroidery of Zaccaria\u2019s prayer, can only be heard faintly across the great distance of the Arena. Carlo Colombara\u2019s<\/strong> voice moves with ease over the entire range, and his \u00a0round sound and clean emission confers elegance and dignity to his role. When necessary, he has the vocal command\u00a0 to arouse his followers to action. In the title role of Nabucco, Ambrogio Maestri<\/strong> gave a generous and energetic performance; sometimes too much so, and his vocal control suffered as a result. But he was consistently musical in his phrasing and colouring; and all this only 24 hours after his performance as Amonasro, ankle-deep in the Nile.\u00a0 An energetic and generous performance by Tatiana Melnychenko<\/strong>, too. She threw herself physically and vocally into the formidable role of Abigaille as she prowled around the stage. War-like and determined she surmounted the fearsome technical challenges of the role, showing surprising buoancy in the coloratura.Stefano Secco<\/strong> was a gift as Ismaele,<\/em> a role too often assigned to tenors with weak voices of dubious quality. As in previous occasions (his Romeo of Gounod in the Arena for instance), Secco demonstrated a solid technique, a firm, round, and expressive voice and tasteful musicianship. His presence was a touch of class. Anna Malavasi<\/strong>, brought a strong and affermative characterization to the role of Fenena.<\/strong> Francesco Palmieri<\/strong> as the High Priest of Baal, Luca Casalin<\/strong> as Abdallo and Maria Letizia<\/strong> Grosselli<\/strong> as Anna gave competent and well-balanced performances. Although noticeably smaller than the previous evening, the audience was particularly attentive and appreciative, and demonstrated it by their enthusiastic applause at the end. Photo Ennevi \/ Fondazione Arena<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Verona, \u00a0Arena di Verona \u00a0Opera \u00a0Festival, Centenary Season 2013. \u201cNABUCCO\u201d Opera in four acts, libretto by Temistocle Solera […]<\/p>\n","protected":false},"author":105,"featured_media":88801,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[1290,938,155,309,9354,153,1099,105,145,7139,2545,1274,9465],"class_list":["post-66674","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-senza-categoria","tag-ambrogio-maestri","tag-anna-malavasi","tag-arena-di-verona","tag-carlo-colombara","tag-foreign-readers","tag-giuseppe-verdi","tag-julian-kovatchev","tag-nabucco","tag-opera-lirica","tag-pasquale-grossi","tag-rinaldo-olivieri","tag-stefano-secco","tag-tatiana-melnychenko-it"],"_links":{"self":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/66674","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\/105"}],"replies":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/comments?post=66674"}],"version-history":[{"count":1,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/66674\/revisions"}],"predecessor-version":[{"id":88051,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/66674\/revisions\/88051"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media\/88801"}],"wp:attachment":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media?parent=66674"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/categories?post=66674"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/tags?post=66674"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}