{"id":93530,"date":"2018-08-19T19:38:48","date_gmt":"2018-08-19T17:38:48","guid":{"rendered":"http:\/\/www.gbopera.it\/?p=93530"},"modified":"2018-08-26T19:39:18","modified_gmt":"2018-08-26T17:39:18","slug":"arena-di-verona-opera-festival-2018-il-barbiere-di-siviglia","status":"publish","type":"post","link":"https:\/\/www.studioroldo.it\/gbopera\/arena-di-verona-opera-festival-2018-il-barbiere-di-siviglia\/","title":{"rendered":"Arena di Verona Opera Festival 2018: “Il barbiere di Siviglia”"},"content":{"rendered":"

Verona, Fondazione Arena di Verona. 96^ Opera Festival 2018.
\n<\/span><\/em>“IL BARBIERE DI SIVIGLIA” <\/b>(Il barbiere di Siviglia)
\n<\/span><\/span>Opera in 2 acts, <\/span>Text by C. Sterbini from a comedy by De Beaumarchais.
\n<\/span>Composer Gioachino Rossini
\n<\/strong><\/span>Count Almaviva <\/i><\/span>LEONARDO FERRANDO
\n<\/span><\/span>Doctor Bartolo <\/i><\/span>CARLO LEPORE
\n<\/span><\/span>Rosina <\/i><\/span>NINO MACHAIDZE
\n<\/span><\/span>Figaro <\/i><\/span>MARIO CASSI
\n<\/span><\/span>Don Basilio <\/i><\/span>ROMANO DAL ZOVO
\n<\/span><\/span>Berta <\/i><\/span>MANUELA CUSTER
\n<\/span><\/span>Fiorello\/Ambrogio <\/i><\/span>NICOL\u00d2 CERIANI
\n<\/span><\/span>An officer <\/i><\/span>GOCHA ABULADZE
\n<\/span><\/span>Orchestra, coro e corpo di ballo dell’Arena di Verona
\n<\/span><\/span>Conductor <\/span>Andrea Battistoni
\n<\/b><\/span><\/span>Chorus Master <\/span>Vito Lombardi
\n<\/b><\/span><\/span>Director, Costumes, Scenery and Lighting <\/span>Hugo de Ana
\n<\/b><\/span><\/span>Choreography <\/span>Leda Lojodice
\n<\/b><\/span><\/span>Verona, 17th August 2018.
\n<\/i><\/span><\/span>\"\"<\/a>The third of five performances of The Barber of Seville <\/em>at the Arena di Verona was that of a cast change in two of the principal roles, Mario Cassi taking over the role of Figaro from Leo Nucci and Leonardo Ferrando in his only performance as Count Almaviva. The revival of this very popular production, first seen in 2007, is Verona\u2019s homage to the 150th anniversary of Rossini\u2019s death this year.\u00a0 <\/span>At its 4th revival and 11 years from its premier de Ana\u2019s magical and elegant production continues to delight and enchant the audience. From the clapping prologue of the mimes the audience is joyously drawn into the festive action. The stage is occupied by an enormous platform on which huge maze-like hedges rotate to create spatially different scenes overshadowed by gigantic red roses. The soloists, chorus, ballet dancers and mimes are Lilliputian in comparison. A seemingly impossible task of staging such a delicate opera in such a vast space is resolved by creating a fantasy world to accomodate quick stage entries, exits and scene changes and create intimacy. The production is laced with irony and a sense of the grotesque. Bizarre and extravagant dancers, acrobats and mimes, reminiscent of Alice in Wonderland, in exquisite 18th century costumes, designed by de Ana, and their music box figures and movements, a mix of minuet and modern, all cleverly and tastefully choreographed by Leda Lojodice<\/strong>, enliven the staging, as a frame and comment on the opera. <\/span>An engaging cast breathed life into the production. Leonardo Ferrando<\/strong>\u2019s opening serenade \u201cEcco ridente in cielo\u201dimmediately revealed an excellent use of sustained breath control, easy emission and agility, particularly evident in a bright and ringing high register and a smooth and graceful lyrical line. Nino Machaidze<\/strong> was a charming Rosina, musically and technically precise, with a full rounded timbre and seamless extension, she executed the coloratura appropriately but without sparks. Mario Cassi<\/strong> as\"\"<\/a>Figaro took possession of the stage from his entrance with his easy going stage manner and commanding vocal presence. A strong, full, clearly articulated, and dynamic voice was moulded with expressivity and musicality. His cavatina \u201cLargo al factotum\u201d received an ovation and was encored. Carlo Lepore\u2019<\/strong>s Don Bartolo was a lesson in taste, measure, comic timing both in his stagecraft and his vocality. His diction was perfect and fired at speed when called for. His \u201cbuffo\u201d was played in a direct and natural way without ever confounding a fine voice and solid technique. <\/span>Vocally secure, Roma<\/strong><\/span>no Dal Zovo<\/strong> managed to communicate the devious and duplicitous character of Don Basilio without ever losing his smooth and even vocal delivery and Manuela Custer<\/strong>\u2019s Berta was a treat. Her arietta was projected effortlessly with a bright firm tone. Custer, Lepore and Dal Zovo all managed to be entertaining and at the same time adopt the right register in their \u201cbuffo\u201d characters avoiding forced comedy, over acting or adopting fastidious vocal mannerisms. Nicol\u00f2 Ceriani,<\/strong> a valid Fiorello\/Ambrogio and Gocha Abuladze<\/strong>, an officer, completed the cast. The male chorus prepared by Vito Lombardi were in fine form. <\/span>Despite the wonderful staging contrivances the problem remains that this type of opera is lost in the enormous distances of the Arena. In the first row of the prima gradinata, the clavicembalo was inaudible and the lightweight and numerically reduced orchestra conducted with energy and verve by Andrea Battistoni<\/strong> resulted very distant and vague.<\/span>The explosion of fireworks at the end remains a marvellous conclusion to a magical evening. Photo Ennevi<\/em>
\n<\/span><\/p>\n

\"\"<\/a>Alla sua quarta ripresa, e a undici\u00a0 anni dalla sua creazione, questo Barbiere di Siviglia<\/em> firmato de Ana continua a deliziare e incantare il pubblico. Gi\u00e0 dal balletto che anima la sinfonia gli spettatori\u00a0 si immergono nel grande giardino con le sue gigantesche rose rosse. L’impresa,\u00a0 apparentemente impossibile di mettere in scena un’opera cos\u00ec delicata in uno spazio cos\u00ec vasto,\u00a0 viene risolto creando un mondo fantastico in grado di accogliere entrate, uscite e cambiamenti di scena veloci e allo stesso modo\u00a0 creare intimit\u00e0. Uno spettacolo intriso di ironia e un tocco di\u00a0 grottesco: ballerini\u00a0 stravaganti, acrobati e mimi (che ricordano Alice nel Paese delle Meraviglie<\/em>, in squisiti costumi del 18 \u00b0 secolo) con le loro figure e movimenti, un mix tra minuetto e danza moderna, sapientemente creati da\u00a0 Leda Lojodice<\/strong>, fanno da cornice all’azione dei protagonisti. Un cast coinvolgente e ben amalgamato nel riprodurre la regia di de Ana. La serenata di apertura dell’Almaviva di Leonardo Ferrando<\/strong> (al suo esordio areniano), “Ecco ridente in cielo”,\u00a0 ha immediatamente rivelato una bella linea di canto, un ottimo uso e controllo del fiato, facilit\u00e0 di emissione e delle agilit\u00e0. Bello anche il registro acuto,\u00a0 brillante e squillante. Nino Machaidze<\/strong> \u00e8\u00a0 un’affascinante Rosina, musicalmente e tecnicamente precisa, con un timbro pieno e omogeno. Il canto di coloratura \u00e8 preciso ma senza scintille. Mario Cassi<\/strong> nel ruolo di Figaro si \u00e8\"\"<\/a> impadronito della scena con la sua brillante presenza vocale e scenica. Una voce, la sua, robusta, piena, con una chiara articolazione del fraseggio. Un Figaro, quello di Cassi, plasmato con espressivit\u00e0 e musicalit\u00e0. La sua cavatina “Largo al factotum” \u00e8 stata salutata da una vera e propria ovazione. In Don Bartolo, Carlo Lepore<\/strong> offre una lezione di gusto, misura, tempismo comico sia nella recitazione che nella\u00a0 vocalit\u00e0. La sua dizione era perfetta e lanciata alla velocit\u00e0 del canto sillabato richiesto. Il suo essere\u00a0 “buffo” \u00e8 stato sempre\u00a0 diretto e\u00a0 senza eccessi\u00a0 che andassero a inficiare la bella vocalit\u00e0. Vocalmente sicuro, Romano Dal Zovo<\/strong> \u00e8 riuscito a comunicare il carattere subdolo e ambiguo di Don Basilio senza mai perdere di vista la fluidit\u00e0 e la naturalezza del canto. Brillante la Berta di Manuela Custer<\/strong>: ha fatto della\u00a0 sua arietta un piccolo capolavoro di proiezione vocale, sicurezza e brillantezza. Un valido Nicol\u00f2 Ceriani <\/strong>(Fiorello \/ Ambrogio) e Gocha Abuladze <\/strong>(Un ufficiale) completano il cast. In ottima forma il coro maschile preparato da Vito Lombardi<\/strong> era in ottima forma.\u00a0 Se dal punto di vista vocale e scenico questo Barbiere ha saputo trovare una funzionale soluzione, le cose vanno meno bene sul piano strumentale: gi\u00e0 nella prima fila della prima gradinata, il clavicembalo era impercettibile e le sonorit\u00e0 orchestrali (compagine numericamente ridotta),\u00a0 bench\u00e8 gestite con energia e verve da Andrea Battistoni,<\/strong> risultavano molto distanti e vaghe. Comunque sia, l’esplosione dei\u00a0 fuochi d’artificio finali sono a corollario di un’altra magica serata areniana. Foto Ennevi<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Verona, Fondazione Arena di Verona. 96^ Opera Festival 2018. “IL BARBIERE DI SIVIGLIA” (Il barbiere di Siviglia) Opera […]<\/p>\n","protected":false},"author":105,"featured_media":93537,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,4],"tags":[945,9354,17228,5215,240,11310,15455,3398,1296,5635,1752,145,7933],"class_list":["post-93530","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-senza-categoria","category-recensioni","tag-andrea-battistoni","tag-foreign-readers","tag-gocha-abuladze","tag-hugo-de-ana","tag-il-barbiere-di-siviglia","tag-leda-lojodice","tag-leonardo-ferrando","tag-manuela-custer","tag-mario-cassi","tag-nicolo-ceriani","tag-nino-machaidze","tag-opera-lirica","tag-romano-dal-zovo"],"_links":{"self":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/93530","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=93530"}],"version-history":[{"count":2,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/93530\/revisions"}],"predecessor-version":[{"id":93531,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/93530\/revisions\/93531"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media\/93537"}],"wp:attachment":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media?parent=93530"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/categories?post=93530"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/tags?post=93530"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}