By Natalia Di Bartolo
Milan, August 31, 2015 –
A Bohemian vintage, Puccini at La Scala on August 31, 2015, with a sold out initially unexpected, but fully realized.
In the orchestra pit l’ Orquesta Sinfonica Nacional Simon Bolivar de Venezuela by Caracasall items in their twenties. This, together with the Coro Nacional Juvenil, brought breath, even joy, trials and, at the same time, rigor and precision to representations, with the Maestro Gustavo Dudamel firmly at the helm of this team.
Slightly slowed the times in some orchestral moments, but everything in perfect puccinianamente rule: breath, participation, support interpreters, minimum gap between pit and stage. Just a little sound’ "heavy", pronounced, but she left one anyway for the qualities that characterized the rest.
Tender Mimi, Maria Agrestamoderate sweet, refined, beautiful voice. A Mimi nearly "ideal", that the public loves the Scaligeri, especially, has warmly welcomed, especially in that context and that called to mind directorial great voices of the past, of which the first, directed by Von Karajan, was Mirella Freni, in 1963.
Vittorio Grigolo, RodolfoShe's got a great, DO, and showed off everything, as well as its ease in the high notes, but his vocal performance was affected by a certain approximation and thoughtless "shots", also from the point of view, as well as scenic speech. The content of well known, you're left by personal moods and drag is not entered in the character, remaining constantly himself, and not studying much the psychological part of Puccini's character. Has the admiration of women and not cheap, but if you demonstrate, moreover, even the most musically accurate, would benefit tremendously to their professionalism and the foundations of its international reputation.
In bittersweet Bohemian group, the Marcello by Massimo Cavalletti has proved correct and well characterized; then a confirmation, although the vocals would be better; the Shaunard by Mattia Olivieri very good, both in terms of that voice.
The Hills by Carlo Colombara deserves special attention, where the role is apparently not, but clearly it becomes at the time of "Vecchia zimarra". The Scala audience welcomed the famous bass with great warmth and applause at the end of the famous piece in the third act. Voice in great shape despite the heat and proximity of the performances, one after the other, Colombara It proved more than ever on the crest of a wave and ready to face the international calendar that awaits him.
The monumental Musetta by Angel BlueDespite the beautiful vocal timbre, has not shown the lively as the part requires, also missing volume: Musetta the collective imagination has not materialized, so, appropriately, poor projection and a touch of whimsical class that the character demands.
Secondary characters definitely lives up to the cast, correct and appropriate entries with, as well as, together with the Coro Nacional Juvenil, the Treble Voices chorus of the Teatro alla Scala Academy.
Historic layoutexceeding fifty years, but that still holds up perfectly, both from the scenic point of view and from that direction, for which Marco Gandini, with the lights by Marco Filibeckbrought back to life the staging of Franco Zeffirelli author of direction and set design, as before you mentioned dating back to the original 1963, costumes by Piero Tosi.
Long scene changes, two ranges…more than half an hour to replace the attic for the last act, but it was still worth it.
In conclusion, we emphasize how great protagonist of this staging of Romeo and Juliet, after all, has been the audience: braving the scorching heat and the inevitable inconveniences, ferragostani spectators crowding the impossibly Scale, have given standing ovations each soloist and demonstrated with enthusiastic in performing breaks open scene, regularly at each aria, Duet and scene, as well as with over ten minutes of applause at the end, all the warmth of a public rightly eager to quality and tradition. 
This has gratified the interpreters every expected exit from swarms of fans chasing autographs in via Filodrammatici, but also those on the Opera stage has hopes and wishes for the future certainties.
© Natalia Dantas
PHOTO © MARCO BRESCIA & RUDY AMISANO – TEATRO ALLA SCALA, COURTESY M ° CARLO COLOMBARA, AA.VV.