Written by Natalia Di Bartolo —

Following excerpts of French and English translation from M° Roberto Alagna’s Facebook official page —

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Berlin, October 18, 2015 –

Beyond anything you could write and was written by experts more or less satisfied from the philological point of view, dealing with Vasco da Gama by Giacomo Meyerbeer (1791-1864), staged by the Deutsche Oper Berlin in this 2015/16 seasonthe first thing that should be stressed is the resourcefulness of those who decide to implement those undertakings and resume revaluation of obsolete masterpieces and participate.

The Grand Opéra Meyerbeer, which, with the title of "L ’ Africaine" He still knows mixed fortunes, with less true and effective, it is still a very challenging work, weaving rugged and musical staging very laborious and even risky. Risky for two reasons: one voice and music and other things. If in fact, musically and speech is grappling with a choral work and done primarily by an enormous duets and concerted vocally exhausting, on the other, to stage a world sailor and exotic mainly according to the usual canons of Opéra Francais becomes increasingly difficult and above all less and less credible.

Welcome, then, for once, an intelligent Director "modern", Sonja Nemirova, which has supported the excellent performance of’Orchestra of DOB, directed by Enrique Mazzola, fresh from the success of the same Dinorah Meyerbeer in concert form at the Berliner Philharmonie, and interpretersall and all amazing, but also put to test by a Meyerbeer that still requires not only the respect of tradition and elegance, but also power and projection.

As the protagonist, the restless Navigator Vasco da Gama, Roberto Alagnathat's got to unfold their beautiful French song. Clear and without a hitch at the same time powerful and refined, the great tenor was as always at stake for "Repechage" a version Dell ’ work which can be considered historicbecause in this form and with this title, which made him protagonist in all respects, was staged only once, in 2013 to Chemniz, and saw him entrusted the new representation.

Alagna It is not unusual for these companies of revival works great forgotten or underestimated. As he had brought success to the unattainable Lancelot by "Le Roi Arthus" Chausson a few months ago all’Opéra Bastille in Paris, in the same way, in Berlin has revived a Vasco da Gama impetuous, heard and studied with thorough care, in body and soul.

The French-Sicilian tenor do not save and never in this part as always gave his all, certainly aware, also, that it would be a very cumbersome job, deal with and support. Commendable, so its revive obsolete works the immense and laudable work of preparation that has been able to accomplish, both individually and in perfect harmony with the other performers, giving the public an interpretation of French masterpiece, surpassing a chill of season had hit the first of October 4, reads in recitation has been increasing, up to elicit unanimous, consensus felt.

His“Pays merveilleux!…O paradis”, one of the most famous tenor of the Opera of all time, subject to several changes compared to the version that you're used to listening to and from these exalted in beauty, is the first from the heart that flowed from his lips, with elegance and safety, but even with that sentiment that led to the end of the song to pay registicamente, but in a heartfelt and participant , red flowers that was holding the audience that applauded him unreservedly.

Moreover, Roberto Alagna was nicely complimented because found himself alongside, which Selikawell, tight-knit Sophie Koch, just out with him from musical junipers Chausson as Genièvre and therefore well accustomed to leading parts like this alongside famous tenor. However, the song of note interpreter proved at times forced, especially acute in certain parts that do not agree to have his vocalism; but the whole thing was always passed with skill and style.

Just as the effective Ines by Nino Machaidze, which lent their instrument to a character that requires strength, as well as subtleties and, who, like others, often undergoes the "ill-treatment" of the score.

The Maestro Enrique Mazzola He coped really a great camera, conductor of several characters, including the well delineated Nelusco by Markus Brück, all effective, and Chorus of DOB, well directed by William Spaulding: wore a firm hand and great flexibility.

The Grand Opéra is: just a minefield for distorting it, musically and dramatically. And, in this regard, it is good to reiterate, as before mentioned, that the staging of the experience Nemirova, supported by the sumptuous and only apparently minimalistica set design by Jens KilianDespite some inconsistency in geographical maps and despite the rather Dowdy costumes representing the weak point of the whole, once knew "renew" a masterpiece, which often suffers from exotic paccottiglie, sails, rigging and overflowing of slaves and natives wielding scimitars and flabelli in endless processions and confusing.

The Portuguese Vasco da Gama in a German vessel in Naturapaper boat, of emotion and power, floating like a toy in the sea of ambition and feelings, has proved so really himself, in perfect line with the Director, in a final blaze of colorful flowers; everything worked like clockwork, even with the choreography by Bharti RahmdoniAfter grueling trials and endless, but with a commendable result and out of the ordinary.

A success, this Berlin Vasco da Gama, appreciated by the public despite the well hours total duration 5: after hearing the ovations the interpreters and all the architects.

Great Opera House, therefore, to DOB in this 2015/16 season, and a Meyerbeer always ingenious and deserving more than ever to revive at such high levels.

© Natalia Dantas

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From M° Roberto Alagna’s Facebook official page :

VASCO DA GAMA (18/10/2015). REVIEWED by Natalia Di Bartolo for operaeopera.com (22/10/2015)

EXCERPT:
“It is not uncommon that Alagna is working for the resumption of large rare or forgotten works. In the same way that his Lancelot unprecedented had contributed to the success of the "Roi Arthus" of slipper in the Bastille a few months ago, he revived in Berlin one impetuous “Vasco Da Gama” He studied and appropriated with great care, body and soul.
The Franco-Italian tenor is not household and in this partition, as always, he gave everything of himself. Especially when we know what considerable preparatory work this represents as learning, confront and defend such a role. […]
Its "wonderful country" one of the best known tenor Arias, subject of several variations from the version that was used to hear and in doing so, he has exalted in the beauty. His song gushes of his heart and his lips with elegance and ease. At the end, when staging led him towards the public, with an emotion so sincere and committed, the red petals that he holds in his hands, it receives fed and without reservation of the audience applause.”

 

PHOTO DEUTSCHE OPER BERLIN © Bettina Stöß, PAGINA FACEBOOK M° ROBERTO ALAGNA, AA.VV.