Review: La VOIX HUMAINE and CAVALLERIA RUSTICANA together in Bologna

Review: The VOIX HUMAINE and CAVALLERIA RUSTICANA together in Bologna in an unprecedented combination directed by Maestro Michele Mariotti.

By Lukas Franceschini

Bologna, 13 April 2017.

Unpublished diptych the one presented at Municipal Theater of Bologna, La Voix Humaine by Francis Poulenc and Cavalleria Rusticana by Pietro Mascagnidirected by principal conductor Michele Mariotti and in a new staging conceived by Emma Dante.

In fact, the Frenchman Poulenc and the Livorno-born Mascagni have nothing in common, especially from a compositional and professional point of view. The fact remains that they are important names in the European music scene, even if they operated in different periods.

The juxtaposition of the two works is developed exclusively on the dramaturgical level, the protagonists are two women abandoned by their man, who also has a not very honorable behavior, so much so as to inflict a strong wound, in a lethal case. A bond that finds an appropriate human and social vision in focusing on the female element, certainly not fragile, but which succumbs to events that cannot and cannot change.

The Director was entrusted to Emma Dante, which deliberately decided to create two different shows with no common dramaturgy. The creation of the French work was more successful, in which the few elements consisted of two very white walls, a bed, bedside table and telephone. At first glance it looks like a bourgeois environment of the 60s, then during the protagonist's telephone conversation, it is perceived that the place is a luxurious psychiatric clinic. The environment hosts the patient who is in the throes of abandonment, in her crazy vision she relives or would like to experience the sensations of an interview with her beloved until the tragic conclusion. The fleeting appearances of the actors, the very talented ones, appeared superfluous Students of the Alessandra Galante Garrone School of Theater, but on the other hand we had an impressive actress, very good performer in the scanning of the word of the breath, more apt than a refined song but, in fact, limited by the score. AND' Anna Caterina Antonacci the triumph of the evening, an artist who arouses astonishment for the psychological transformation in this umpteenth role, to which must be added an ethereal beauty and a great prima donna movement.

The situation is quite different Cavalleria Rusticana, perhaps deliberately all in black to create the contrast with the previous work. Partly apt idea, but it is a pity that Dante wanted to tread his hand on a vision of popular religious elements that was too oppressive. We have seen continuously the procession of Christ carrying the cross, the mimic scenes of the Madonna crying for her son, a sort of jester-circus girls who accompany Alfio, and whoever can put more of it. They are "paintings" that perhaps refer to the Sicilian tradition, but frankly not very understandable, especially if they predominate on the social aspect of the story, in which the characters are left to free to act and not very focused, except for the final scene where the two mothers, Lucia and Maria, find a convergence for having both lost their son in situations at the antipodes. An overall unclear and dramaturgically stifled show in which the social tinge of silence is missing. Carmine Marignola, set designer, he has a happier hand in Voix Humane, in Cavalry a detachable ladder has been removed, there is nothing else. THE costumes by Vanessa Sannino they are relevant and actual. Cristian Zucaro could have in both cases less static lighting effects.

The cast presented nothing really good but a stale routine. Carmen Topciu is a correct one Santuzza which, however, lacks the scan of the accents and a valid high register, Marco Berti, Turiddu, who would be an ideal tenor with excellent means, is more concerned with showing the peculiarities of the voice at the expense of phrasing and interpretative intentions. Professional Gezim Myshketa, Alfio, but leaves no indicative trace. Good Anastasia Boldyreva a Lola sensual and mediocre the mother Lucia by Claudia Marchi.

Last but not least, the director Michele Mariotti, which debuted in both titles. Mariotti has studied the scores a lot, and you can hear it, concerting Poulenc with witty mastery of colors, and contemptuous hues but keeping together the difficult relationship with the soloist in a commendable way, even if it was the only way to go. In Cavalleria Rusticana he did not want to be influenced by any other reading, but he followed his musical instinct that allowed him to chisel colors and both harmonic and timbral scans with great precision. Never over the top, but with a great narrative concept, where the sound always robust and refined were the common denominator of a very remarkable direction not without moments of great effect.

One followed him with devotionOrchestra very diligent and a Chorus directed by Andrea Faidutti, in Mascagni, highly professional and precise.

At the end, full success for everyone, with ovations for Antonacci and Mariotti.