2Reviews2: La Gazza Ladra at the Teatro alla Scala in Milan, directed by Maestro Riccardo Chailly directed by Gabriele Salvatores.
By Lukas Franceschini and William fratti –
April 6, 2017
After an absence of one hundred and seventy-six years since the last edition, the Teatro alla Scala has put on the bill the Opera Semi-Syria La Gazza Ladra by Gioachino Rossini, who had the first execution in the Milanese theater on May 31, 1817.
An inexplicable oblivion, as stated by the master Riccardo Chailly, who strongly wanted this new proposal and at the same time added another Rossinian title to the personal execution catalog.
Nor does the gazza thief the fairy tale and the novel amalgamate themselves in a characteristic way and the rhythm carries on the story until the happy ending. However, there is the dramatic and pathetic aspect, not secondary to the brilliant, and in particular it is underlined by the relationship father and daughter (Ninetta-Fernando) with accents that are forerunners of the Italian school's operistic romanticism. The entire score, very difficult both for singers and for the orchestra, is a perfect balance between pomp and candor, rhythm and irony. He then works forgotten, excluding symphony, for almost two centuries not only in Milan, which boasts a consistent recovery only in recent years. Many musicologists say that the work is for height of inspiration and for dramatic power and accuracy in the form, one of the best of the author, also identified in a refined instrumentation. It is a realistic drama that from the simple country comedy becomes, especially in the 2nd act, a real tragedy and ends by taking up the initial character. Even if the "fact" is absurd, a girl condemned to death for a theft of silver cutlery, Rossini finds a way to develop dramaturgy and music by showing off all the varied possibilities, bright sortie arias, large solo arias, countless pieces of d ' Together, a toast, playing with great skill on different styles, touching truly relevant and effective compositional leaders. In this regard, the interview with M.O Chailly, published in the room program, which illustrates in detail all the musical characteristics of the work is very interesting.
The Directed by Gabriele Salvatores, which limits itself to narrating in a dreamlike sense but without a real dramaturgical idea, the bright scenes and not sufficiently focused the dramatic ones that are not very edifying. Under a peculiar point of view it could be assumed that the director in his reading wanted to paraphrase the comedy of art, then here is inserted with relevance in the symphony the extraordinary Carlo Colla's puppets, later during the work used with a successful dozen. The movement of the masses are questionable, few innovative ideas and some "essential" by others, such as the mima-acrobat that interprets the magpie to which the unlikely procession of the execution of Ninetta da Santa inquisition with the hooded gendarmes in black must be added. There scene semifissa of Gian Maurizio Fresioni Although in static beauty does not help, with the exception of the structure on the right which, theater in the theater, turns into a noble house, prison and court. The same Fercioni has happiest hand in costumes, even if that of the podestà, which paraphrared Count Dracula, was somewhat bizarre. The lights by Marco Filibeck They were very effective and of great impact.
The direction of Riccardo Chailly was exemplary for crystalline execution and maximum attention to all the details, chiseled in every corner with obsessive care together with the excellent orchestra and the choir in shiny form. However, he chooses a more played reading on the dramatic terrain at the time that the pressing rhythm sometimes, already from the symphony is perceived the fundamental role of solemnity, even if the times were well sustained. If the scene of the court and amazing for stylistic adherence, and the trio and concerted are all functional, the brindisi seemed less successful, but it is probably only a matter of personal taste. Furthermore, the master's loving contribution to the voices should not be underestimated, always supported with expertise and the right sound balance.
Overall, the singing company was appreciable, even if more concentrated on the thickness than expressiveness. Rosa Feola, Ninetta He is a musical and precise soprano, convinces on the pathetic side less on the dramatic one. Rather slender, even without serious flaws, the Giannetto by Edgardo Rocha.
Better the low voices of Alex Esposito, Fernando, for appraisal and vocal precision albeit sometimes monocorte, and Paolo Bordogna, Fabrizio, elegant and histrionic which offers an attractive light to the character who often slips aside. Honor to the professionalism of Michele Pertusi, Gottardo, but now such virtuous roles should give way to other more congenial.
Relevant for accent and musicality the Lucia di Teresa Iervolino and extraordinarily very good all the other interpreters in minor roles, Matteo Macchioni (Isaac), Matteo Mezzaro (Antonio), Claudio Levantino (Giorgio and Praetor) and Giovanni Romeo (Ernesto).
The least successful role was that of Pippo played by Serena Malfi, which does not have the necessary characteristics and is also penalized by an not very fascinating voice.
At the fifth he starred to whom I witnessed the theater was almost exhausted and rightly prodigal of applause, the gazarra of the first is now forgotten.
© Lukas Franceschini
5 maggio 2017
Titles that Piermarini had their births, and then unjustly forgotten, is on the scene, it is a commendable, culturally winning, but at the same time difficult to mediate with today's taste of the public. In the case of the valuable La Gazza Ladra, as last year for Giovanna D'Arco, there is a very intelligent recovery: the work, in its entirety and critical revision by the late Alberto Zedda, has already been repeatedly represented to Rossini Opera Festival di Pesaro, therefore this of the scale appears as an international confirmation of the return of this masterpiece - made of musical numbers all too avant -garde for the time - on the scenes all over the world.
Riccardo Chailly, who on many occasions has shown that he is an excellent executor of the Rossini repertoire, he makes use of a cast composed almost entirely of specialists - many have already played the role - and the overall result that obtains it, especially in terms of style, is Really excellent, except for the variations that are truly reduced to the minimum terms. The vigor with which he directs "the great vastness of the fresco" is superb, although there is no lack of dramatic accents and pathetic shades, even if in some moments there is an excessive orchestral volume. Valuable the Fortepiano at James Vaughan. The impeccable the Choir of the Teatro alla Scala led by Bruno Casoni.
Rosa Feola it's a very good Ninetta, technically impeccable, especially in the intonation and colors. The stamp is slightly acidic and this makes the Rossinian taste even more interesting, particularly in the most mechanical passages. For this role, a softer and darker vocality would prefer, so much so as to make greater pathos in the most sentimental and moving pages, Purettavia Rosa Feola still manages to make the right colors.
Alongside her the Giannetto by Edgardo Rocha Which in this part shows further qualities compared to previous performances, mainly in the detached, in the tips, in general in all virtuosity, but also in the beautiful melenian phrases of the first ending.
The song of Michele Pertusi It is to be taken like a school. His way of leaving the sound, of articulating the word, of giving intention to each individual phrasing, in the Rossini area has no rivals. It is natural that his voice no longer has the elasticity of the past, but expressiveness is unsurpassed and his own Gotthard He lives on all the shades wanted by the composer, from the almost funny cavatina, to the slimy and dramatic second air, up to the final yield.
Alex Esposito it's a Fernando more than excellent. Perfect style, always uniform singing line, superfine agility, very central colors and remarkable dramatic thickness enrich its vocality already naturally beautiful and predisposed to the repertoire of the Pesaro area.
Teresa Iervolino it is a good one Lucia, mainly in interpretation and pathetic singing, but there is still a lot of space for improvement in agility and projection. Serena Malfi it's a Pippo More than discreet, but volume, stamp and projection need more body. Excellent the Fabrizio by Paolo Bordogna, constantly brilliant and with sounds always at the tip. Matteo Macchioni's isacco is very pleasant. Also effective Matteo Mezzaro in the role of Antonio, Claudio Levantino in those of Giorgio and the Praetor, Giovanni Romeo in those of Ernesto.
The show of Gabriele Salvatores It is quite disappointing. Salvatores, like many other cinema directors who have approached or close to the theater after so many years, does not satisfy as they are without original ideas. The acrobat magpie, the puppets, the double or the projections of the characters, the theater in the theater, are all things already seen and magazines that alone, without a novelty that acts as a hard core, do not justify the high name of the director involved. Having said that, however, the excellence of the meticulous work made with the interpreters in terms of gestures, looks, expressions, movements, actions that constantly fill over three hours of music, since there is no empty space, but everything is studied in the smallest detail despite the utmost naturalness.
In perfect line with the show, even if a little anonymous, the Scenes by Gian Maurizio Forcioni and the lights of Marco Filibeck. Best i Costumes, always of Fercioni.
William Fratti
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