Review by Natalia Dantas ©dibartolocritic —
Unlike other works on the Bill this year at teatro massimo Bellini in Catania, Vincenzo Bellini's "La sonnambula", staged the May 25, 2016, was announced as muted. Perhaps cautiously, because there is always great expectation in the city etnea concerning the staging of works by the great countryman and it shows every time the theatre that is filled with the souls of the audience full of expectations, but veterans often unfortunately from big disappointments.
Instead it should be noted how this edition of La sonnambula is staged properly, without too much upset the minds of music lovers, nor those of the curious neophytes.
Good for newbies have found a traditional staging, with the play and even bulky depths of Sanquirico (1831). Colorful, one might say, in this case, directed by Alessandro Londei, who oversaw scenography and direction together.
The Director, of the Roman school, has deliberately gone along with tradition, but has overdone sometimes in inventive as to ask hypothetical solutions of many because of the slender plot. Rebuilding because count Rodolfo was strangely limp, then, was the most free. Get lost in details, set to expire this invented as having applied to strokes intrusions in the commedia dell'arte who suit the context, especially at the beginning, where Bellini's notes were timed with directorial movements not very appreciable.
However, the elements of "noise" to the development of the staging proved to be limited in number and quality and, thankfully, musically, the opera proved to be listenable.
Out of all the discontinuity, however, ruled the conductor, Maestro Sebastiano Rolli, that wink to illustrious predecessors from overseas (still?) especially in moments of lyricism, overly stiracchiati porgendoli to the listener. Though maybe leap also recovered concerted too, albeit all in all it attractively.
But the overall result, in doing so, it proved hit and Miss, shelled; Sometimes you could hear the great orchestra of the Bellini launched without brake, since dominate in the scores bellinane easy is not…but for this you require for works of this kind of great directors and proven ability.
The Rolli will definitely benefit from this experience, to mix their own wrist structure in orchestral conducting, take more fist piglio, thin the approach with the score and in the dynamics, not only to piano and pianissimo, but also strong and overwhelming.
And in that regard, first of all, then, praise the colorful of the choir of the teatro massimo Bellini and obviously to its Director, Maestro Gaetano Costa. Definitely improved the overall result of the choral structure compared to other performances under different direction. The chorus of Catania is formed by professionals: just know well directing. And’ was a pleasure to "find him".
As for the rumors of evening, a dazzling entrance presaged in an Amine that felt like it could be Dubrovskaia Irina Siberian a revelation. In fact, great voice, beautiful pasta but Resonators, going forward in the hand, yet little experience of both the stage of Bellini's score, which compared the scene for the third time. A definitely promising soprano, with higher notes, but to be refined in every respect: the divine "Ah non credea mirarti", I was good for nothing, unfortunately, neither as hue, nor as interpretation. Maybe Bellini is scary, especially in Catania: is very human…And the great performers have to be able to live with the fear, if we fail to overcome it. It hopes to this promising young performer a path made of improvement in agility, the issue of acute and emotional self-control and higher notes.
He gave up that they could voice their limited means at their disposal the Mexican Jesus Leon, Elvino, lacking in the high notes and with higher notes absolutely fogged, seized by the hair…even modest projection, but graceful interpretation.
GABA also the Lisa of Giulia Semenzato and count Rudolph of Dario Russo, unusually limp to his directing provisions, which lent his voice to the character, showing however he too need to be refined in the role of count belliniano, giving a stamp rather rough and certainly from developing into the part.
Also fixed the secondary characters; pretty and colorful costumes by Veronica Patuelli, illuminati fose too folk from the bright lights of Savior.
A Sleepwalker overall usable, that has raised some eyebrows in the most avid music lovers, but overall the public acclaim and applause to the interpreters, especially at the end of the show.
Natalia Dantas – © dibartolocritic
Photos © James Orlando