Un RIGOLETTO secondo tradizione all'Opéra Royal de Wallonie, marzo 2015

By Neco Verbis--

Liège, March 28, 2015 –

Verdi in assignment abroad is always a wild card. In Liège, Theatre de l ' Opéra Royal de Wallonie, il 28 marzo 2015 è andata in scena un’opera che sembrava uscita da un manuale di tradizione, regia, sets and costumes by Stefano Mazzonis di Pralafera, Michel Stilman lights, in a new production of the teatro. A kind of "déjà vu", very enjoyable though, truth to tell, given the ugliness biased that you see around these days, as long as the collection is not become holographic.

He went in the balance on this tightrope to Liègebut overall the result was striking, because the cast was absolutely Italian and Italian singing, for the Italian operas, is still singing Italian.

On all dominated the Maestro Renato Palumbothat gave breath to italiche dynamics, but sometimes suffering from sudden, surprising acceleration, forcing the singers at times with forcing from sprinters and the choir, directed by Marcel Seminarasuch fortunosi pursuits. Good wrist, though, beautiful accents, run by diligent Orchestra Belgian theatre, which gave the best of themselves under a wand searching for the "product" perfectly packaged and offered, rather than the art.

Vecchia volpe, Leo Nucci, still Rigoletto. Incredible tightness of her voice, the character movements and gestures now stigmatized without moments of real emotion, but maintained and port to the public as a relic. A "strong" but elated spectators Belgians, who demanded and got an encore Duet "Yes, vendetta, tremenda vendetta"by subjecting the soprano Rancatore an unlikely testament to acute part. A sort of unplugged but winning: nobody got hurt, indeed. The audience in awe for one of the last great baritones of last generation, yet boldly on stage.

Desirée Rancatore, Gilda, interpretive expression, but missed his singing has been able to hook the listener's ear, producing of preciousness that they forgive some cadences’ acute arraffazzonate final beautifully kept and not exactly; a little’ basis swallow, sometimes, to moderate the colorful; Sometimes, however, a manufacturer of threads everyone to listen to. In a see-saw game quality, the soprano has untangled in a part unlikely and out thanks to the experience that has been accumulated and he treasured over the years, showing off an Italian singing clean and free of habits that is corny, net and Clare scuola tricolore.

Just as the Tricolor Duke of Mantua by Gianluca Terranova, which has proven to possess an item from the dough warm but difficult to control in public transit areas. Good area, good treble but not easy issue, hesitating at times the support, but still too strong of the italic school matrix.

Juvenile Monterone Patrick Delcourinexpressive, the Maddalena by Carla Dirlikov, constrained by such an unusual submission to brother Sparafucile, Latif MalikHe is correct but not really engaging.

All production has suffered from a dualism between high quality and sudden drops, with singers coming and going a little’ too often by the respective parties to enter into the procedure, in a play of light and shade that has benefited to the collection. The the overall brilliance of the Pack, however, prevailed and this Rigoletto has proven absolutely Vincentearousing the enthusiasm of the public and bringing all interpreters warmly into the limelight to the greetings.