{"id":66755,"date":"2013-03-06T20:09:55","date_gmt":"2013-03-06T18:09:55","guid":{"rendered":"http:\/\/www.gbopera.it\/?p=66755"},"modified":"2016-11-27T05:18:53","modified_gmt":"2016-11-27T04:18:53","slug":"an-enchanting-giorno-di-regno-2","status":"publish","type":"post","link":"https:\/\/www.studioroldo.it\/gbopera\/an-enchanting-giorno-di-regno-2\/","title":{"rendered":"Verona, Teatro Filarmonico: An Enchanting “Giorno di Regno”"},"content":{"rendered":"

Verona, Teatro Filarmonico, Stagione Lirica 2012 \/ 2013<\/em>
\n“UN GIORNO DI REGNO” (Il finto Stanislao)<\/strong>
\nMelodramma giocoso in due atti su libretto di Felice Romani e Temistocle Solera dalla farsa \u201cLe faux Stanislas\u201d di Alexandre-Vincent Pineux-Duval
\nMusica di\u00a0Giuseppe Verdi
\n<\/strong>Il Cavalier Belfiore, sotto il nome di Stanislao Re di Polonia<\/em>\u00a0FILIPPO POLINELLI
\nIl Barone Kelbar<\/em>\u00a0 SIMON LIM
\nLa Marchesa del Poggio<\/em>\u00a0TERESA ROMANO
\nGiulietta di Kelbar<\/em>\u00a0LUDMILLA BAUERFELDT
\nEdoardo di Sanval\u00a0<\/em>\u00a0JAEYOON JUNG
\nIl signor La Rocca<\/em>\u00a0 FILIPPO FONTANA
\nIl Conte di Ivrea\u00a0<\/em>\u00a0IAN SHIN
\nDelmonte<\/em>\u00a0CARLOS CARDOSO
\nOrchestra e Coro dell’Arena di Verona
\nDirettore\u00a0Stefano Ranzani<\/strong>
\nMaestro del Coro\u00a0Armando Tasso<\/strong>
\nRegia, scene e costumi\u00a0Pier Luigi Pizzi<\/strong>
\nripresa da\u00a0Paolo Panizza<\/strong>
\nLuci di\u00a0Vincenzo Raponi<\/strong>
\nCoreografie\u00a0Luca Veggetti<\/strong>
\nriprese da\u00a0Maria Grazia Garofoli<\/strong>
\nAllestimento del Teatro Regio di Parma e Teatro Comunale di Bologna 1997.
\nVerona, 3 marzo 2013<\/em><\/p>\n

An absolutely delightful production of\u00a0\u00a0Verdi\u2019s<\/strong>\u00a0Un Giorno di Regno<\/strong>\u00a0at the Teatro Filarmonico in Verona .\u00a0 Entitled \u00a0Un<\/strong>\u00a0<\/em>Giorno di Regno<\/em>,\u00a0<\/strong>melodramma giocoso,<\/strong>\u00a0an opera in two acts, it was Verdi\u2019s only comic opera until he wrote Falstaff, over fifty years later. Ironically it was composed in the most tragic moment of Verdi\u2019s life, the death of his young wife following closely on the deaths of \u00a0his infant children. Verdi was not happy with the libretto which he deemed the least worst of those proferred to him by La Scala\u2019s impresario Merelli, to whom he was under contract.\u00a0 However out of the rather silly story of Felice Romani\u2019s unexceptional libretto Verdi managed to write an opera of\u00a0 charm and melodic facility.\u00a0The scoring of the opera may seem primitive compared to Verdi\u2019s later works but in it we find the many germs of \u00a0his future operas, especially in the accompaniments, which\u00a0 we can identify with Nabucco and Rigoletto, and in the ensembles of public humiliation and conflicting interest of\u00a0La Traviata, Il Ballo in Maschera<\/em>\u00a0and\u00a0Otello.<\/em>\u00a0At the same time, the work shows the infuence of the dominating style of his predecessors Rossini, Donizetti and Meyerbeer in \u00a0similar contexts. Like Rossini, for example, he equates high spirits with a liberal use of piccolo and percussion instruments. However, the first performance of the opera was a failure and Verdi declared he would never compose again. Perhaps it is this failure that convinced Verdi to follow his own distinctive style, and his struggle against prevailing conditions and contemporary taste, for it was his next opera, Nabucco, that established \u00a0a definite change of direction in Verdi\u2019s composition. For this reason,\u00a0Un giorno di Regno<\/em>\u00a0is particularly interesting as an opera of transition. The operatic traditions of his predecessors are very evident, but they are vying with glimpses of\u00a0 Verdi\u2019s future individual and innovative style.
\nWith this in mind,\u00a0 the production by\u00a0Pier Luigi Pizzi<\/strong>\u00a0can be considered to show the opera off to its best advantage, and in so doing, renders hommage to Verdi\u00a0 by highlighting the opera\u2019s intrinsic values without being patronizing or supercilious. \u00a0Added to an aesthetically beautiful, elegant and harmonious sets and costumes, with hints of affectionate and cheeky references, (the kitchen scene replete with rows of hanging parma hams and the shelves of\u00a0 big, whole round parmesan cheese forms ), is the attentive and delicate handling of the directing. The scenery, cosumes, lighting and direction never distract nor interfere \u00a0with the music or interpretation, nor vilify it, but enhance and\u00a0 elevate it. \u00a0The solid vocal techniques of the young soloists from the La Scala\u00a0 Accademy also facilitate this choice, needing no other guile as support. \u00a0The clarity of\u00a0 Pizzi\u2019s production unravels a complicated and confused story, and presents it to the audience in an intelligible and elegant manner.<\/strong>\u00a0The 18th<\/sup>\u00a0century costumes are monochromatic for each principal character, helping to individuate and identify each one of them during the action, against a chorus of rustics and servants in refined tonalities of beige. \u00a0The location has been moved from the border of Poland and Russia to Parma , (hence the references),\u00a0 and the scenery is inspired by the classicism of its palaces and the discreet nuances of their stone colours and is devoid of all ornamentation.\u00a0 Quick, smooth and silent recomposition of the inter-changeable mobile scenery pieces, give depth, height and breadth to the stage, forming monumental arched interior palace walls, huge atriums, lateral staircases, a grand central one, a pyramidal garden one, a lofty library with gallery and\u00a0 a giant-sized kitchen.\u00a0 The use, by the soloists and chorus, of the various levels, front and side-facing stairs, mezzanine or upper gallery, rooms of different levels, creates a sense of space and movement and fills the stage without crowding it.\u00a0 \u00a0The lighting too, is subtle, simple and atmospheric, especially in the suffused light and shadows of palace interiors and in the softly mutating hues of blue on the backdrop simulating the passage of time in this opera which takes place in the span of a day.
\nThe support of such a fine production, gave the cast of young singers the opportunity to present themselves at their best. \u00a0Generally, this they did with a strong and fresh vocality. \u00a0\u00a0The baritone\u00a0Filippo Polinelli<\/strong>, was a polished Belfiore, with his even, round and seamless voice matching his acting ease and confidence.\u00a0 The soprano,\u00a0Teresa Romano<\/strong>, an alumna of the Academy, as the Marchesa, coupled her rich, full lyric, of \u00a0equally strong lower and upper registers, with a strong sense of colour and phrasing. At times her emission wasn\u2019t homogeneous, detracting from an otherwise commanding performance. \u00a0The clear, ringing and articulate tenor voice of\u00a0Jaeyoon Jung,<\/strong>\u00a0standing in for an indisposed Alessandro Scotto di Luzio, as Edoardo, was a charming and agreeable presence although his lower register resulted a little feeble and his aria at the beginning of the second act\u00a0 needed to be reinforced. \u00a0Ludmilla Bauerfeldt<\/strong>\u00a0as Giulietta, gave a delightful portrayal especially when singing in the higher register where a slight but insistent tremble, apparent in the middle register, disappeared.\u00a0 The two \u201cbuffi\u201d\u00a0Filippo Fontana<\/strong>, as La Rocca, and\u00a0Simon Lin<\/strong>\u00a0as the Baron were appropriately entertaining and vocally solid, although Lin\u2019s diction , very clear in his lower notes, tended to become woolly as he ascended. \u00a0The cast was more than decorously completed by the tenors\u00a0Ian Shin<\/strong>\u00a0and\u00a0Carlos Cardoso<\/strong>\u00a0in the comprimario roles of\u00a0 Count Ivrea and Delmonte. The singing of the chorus was clean, clear and compact (ignoring a couple of\u00a0 misshaps of syncronization with the orchestra),\u00a0 with particular attention paid to expressive accents\u00a0 that gave impulse to otherwise rather ordinary chorus music. \u00a0The ballet lent \u00a0a pleasing comment to the relevant scenes.\u00a0\u00a0Stefano Ranzani,<\/strong>\u00a0with great verve, gave a tight and bright reading of the opera, obtaining precision in the technical passages from the orchestra although the tempi were always on the offensive and could have been relaxed from time to time to give a change of pace and\u00a0 feeling. \u00a0The dynamics of the orchestra never seemed to go below a mezzo forte and were generally too loud and heavy, which gave a rather monotonous effect, especially in the more Donizettian and Rossinian moments. \u00a0A merited successful premier, production and performance was very warmly and appreciatively received by a rightly enthusiastic audience. \u00a0The first success of this otherwise rather grey season of the Fondazione Arena.\u00a0Photo Ennevi – Fondazione Arena di Verona<\/em><\/p>\n

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