Written by Natalia Di Bartolo —

Catania, October 20, 2015 –

Rigoletto in strict keeping with the tradition in Hong Kong on October 20, 2015.

On the podium Master Michelangelo Mazza, which replaced the Martinenghi announced. The contribution of the Director ’experienced, verdiana, was absolutely essential. Rigorous, attentive, involved, claimed the performers, gave impetus to action, she covered the barbs he had on stage…In short, he did more than what normally a Director makes an opera performance, in which, on average, its contribution is comparable to a good 60% for risucita production.

The young Maestro made over 80% of the success of this Rigoletto in Catania. It was a show within the show: these were his participation and his emotional involvement, a spasmodic and uninterrupted effort everything from praise unconditionally; so much so that watching him was at times directing more interesting than what was happening on stage. This happens to people who only writes with great conductors, including Michel Plasson…And, therefore, the figure as a wish for a future just as prestigious.

Maestro Mazzawho in vented the final liberating in a way almost all the impetus that was forced to retain during the unwinding of the scenes, knew, moreover, coordinating a team of interpreters that by itself would not have had the potential of sufficient cohesion to complete with the final applause the show.

Also the professionalism of Alberto Gazale, as RigolettoLuckily played in favour of covering a noticeable miss at the scene of the second Act IV of the entire company on stage. Robust and secure voice, beautiful color and timbre, has given Gazale trouble at the time absolutely correct, because, especially in the beginning, her singing was characterized by a certain slowness, which poorly fitting direction. Afterwards the cohesion between stage and pit has grown and the title role was resolved with a good overall performance, appaludita al final, but some more proof would give greater depth and emotional participation to Hunchback jester role of Hughiana memory.

Gilda, Daniela Bruera, has a good voice, but, unfortunately, is lacking in color. The piano, pianissimo, not threads were felt. And a Guild so lacks those subtleties are also essential to the characterization of the character. Probably the role lends itself poorly to its vocalization, which is admittedly still young and it is desirable to evolve towards more substantial roles.

The Duke of Mantua Korean Jaeheui Kwon, in the East, was off, unfortunately, in the entry. Emotion, moreover, plays tricks and was palpable for this young interpreter, who lacked character, as well as power and projection. You are not here to take over the problems in respect of timing with the orchestra, but you must recognize that a boost will come out in the future, even with the improved technique.

Sparafucile was Maurizio Muscolino: good notes serious, moderate ease. Colorless and out time Maddalena by Kulli Tomingas, which at times was totally covered by other voices and orchestra. A note of praise to young Monterone by David Gandhi. Willing portrayals, monotonous and Fort strong Chorus directed by Ross Craigmilethat would require greater attention to colorful and in cohesion.

Traditional the costumes; linear, spartan, almost, the scenario: on all hovered the hand of historic Roberto Laganàthat has led, even in Directoron stage, a traditional, stereotyped Rigoletto also in the arrangement of interpreters, movements of the chorus, as a whole the representation. Felt like I was back in the days when a Rigoletto at the Bellini was routine, but it was a sensation. Not because the Director of Lace were outstanding, but because in the eyes of the writer has reopened a world of memories and lived, passed a theater sizes that deserves to fly again and let it speak for itself as it once was.

But, as it should be, in an Opera performance, what matters is the music. And in Rigoletto There is so much that has been a joy to get lost again for one night, immersed in the splendor of the catanian Theatre, in the infinite verdiana size.

© Natalia Dantas

PHOTO © TEATRO MASSIMO BELLINI JAMES ORLANDO