Review: LA TRAVIATA at the Teatro alla Scala in Milan, conducted by Maestro. Nello Santi.
By Lukas Franceschini
Milan, 5 March 2017.
After a few years of absence, the Teatro alla Scala has rearranged La Traviata by Giuseppe Verdi in the historic setting of Liliana Cavani of 1990.
It would have been more obvious to have reused Dmitri Tcherniakov's staging which was produced for the opening of the 2013-2014 season and never revived afterwards. In fact, it was a surprise to find Cavani's name on the poster, when it seemed that the show, directed by Muti on many occasions, was due for retirement. Corridor rumors, unverified if reliable, state that it was the precise choice of Mrs. Anna Netrebko, protagonist in the last three performances, to want to play Verdi's heroine in this show.
After years the staging by Liliana Cavani it will be seen again with pleasure, since it is in the sign of tradition, well set up, with an effective, even if not unforgettable direction, features of good theater and a precise dramaturgical setting. It is not the case of wanting to look for who knows what philosophical or psychoanalytic conception, on the events of the wealthy courtesan Valéry. Some might say that the understanding of the lifestyle, or rather, the profession of the protagonist is not immediate, but I think that it is not unknown to anyone since the title of the work is indicative. Still eye-popping and gorgeous i costumes by Gabriella Pescucci, and the splendor of scenes by Dante Ferretti which complete a pleasant and fascinating vision. The only drawback is the length of the intervals for the scene changes, the representation exceeds three and a half hours. The Tcherniakov "version", in addition to some slips that it is not appropriate to compare, had the advantage of dividing the work into two parts. However, it would be desirable that La Scala, having two different productions of the same title available, would plan an alternation in the future. La Traviata is always appreciated and fills the theater effortlessly.
On the podium there is a maestro concertatore like Nello Santi (born 1931), one of the longest-lived batons of the opera house and among the veterans in the conducting field. The strange relationship between Santi and the Teatro alla Scala, after a presence in 1971 (Madama Butterfly with Gabriella Tucci), was recalled a couple of seasons ago for L'elisir d'amore, which however was canceled by the director, to return to the today with two titles, in November he will direct Nabucco. Santi is not, or has been, an absolute baton of the 20th century, but he was undoubtedly one of the most solid and relevant directors of the traditional theatre, with good musical characteristics and a skilled opera conductor. His career speaks for itself. His professionalism and charisma are confirmed in this return to La Scala, even if the pace of the first act is frighteningly slow. There is a different caliber in the second act, more sustained tempos and incisive dramatic depth, to then slow down again in the third in particular in the duet "Parigi o cara", which also puts the singers in difficulty. Santi does not deny his excellent training but the traditional cuts are more than evident, no new beginnings in the cabalettes and some scissors in general. However, there are beautiful moments, the duet of the II act and the final concert of Flora's party. The orchestra responds with perfect harmony, adapting even to slowness, but always with a clean and delicate sound without ever forcing it.
The Choir, directed by Bruno Casoni, is impeccable and of high musical standing, also in this case in step with the maestro, so the toast was not very sparkling.
Hero was the American soprano, but of Mexican origin, Ailyn Pérez, who showed a very polite lyric soprano voice, good musicianship and stage interpretation. A positive test even if in the final act I act, agility is not his forte, but in the second act he finds a much greener and more fertile ground, for example the opening “Dite alla giovine” is beautiful, and also in the third, having removed the diction of the letter, he performs a very moving and well sung "Goodbye from the past".
Francesco Meli, Alfredo, is considerably more in part than last month's Don Carlo. His Alfredo is young, brilliant, emotional. The voice is beautiful, as has always been known, the singing, even if it always tends to be open, is more refined, incisive and the phrasing is very accurate. A role he should attend more frequently.
Leo Nucci, Germont father, confirms the class and mastery of the artist. The scenic qualities and identification with the character are very high, the voice sometimes tends to use the nose, but the expressiveness and phrasing are textbook, especially in the duet of the second act. The power and firmness of the acute sector are impressive and a round of applause to a singer who, having passed his seventies, still manages to be such a credible character is dutiful.
All the singers in the other parts are of great stature, starting with the Marquis of Abraham Rosalen, refined and precise interpreter and very good Oreste Cosimo, Gaston, which made evident a very beautiful and well used voice that would give hope for a bright future.
Clare Isotton it's a gorgeous one Flora and Clare Tirotta and'Annina delicate and precise. Costantino Finucci an authoritative Douphol, Alessandro Spina a punctual Grenvil. Very professional the Giuseppe by Jeremy Schutz and Gustavo Castillo, domestic and commission agent. It should be noted that rarely do you find such a well-matched and close-knit company.
Theater sold out in every order of seat, lots of applause both during the execution and at the end, with particular peaks for the three protagonists and ovations for Maestro Santi.
Lukas Franceschini
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