LUCIA DI LAMMERMOOR in Vienna – Review by Natalia Dantas – Unmissable anthology of debutantes in Donizetti's masterpiece at the Wiener Staatsoper.
An unmissable anthology of debutantes in Vienna in Lucia di Lammermoor on stage at the Wiener Staatsoper from 9 to 21 February 2019.
Not to be missed especially the debut of Olga Peretyatko in the title role and that of Juan Diego Florez in the role of Edgardo. But that's not all: also the debut of Maestro Evelino Pidò conducting Donizetti's masterpiece at the helm of the splendid Wiener orchestra…Which makes you leave, in a cold February, towards the banks of the Danube, savoring marvels of Italian and bel canto style.
In fact, maestro Pidò, a regular on the podium of the Wiener Staatsoper, has set in motion for this Lucia too, as only he knows how to do in the execution of Italian masterpieces in his strings, the "custom-built" of orchestras; therefore, listening to the clarity, the depth of expression, the lunges of the strings, the perfect management of the tempos, the accurate dynamics, with absolute respect for the style and spirit of the score, was in itself a joy to savour.
Obviously Maestro Pidò is an expert philologist and practices his skills by habit, but in this case he complied with a critical re-reading of the score which took into account not only what was written, but also the vocal material he had on stage . So here's how the scissors to the embellishments and the tradition of fluttering Lucie of Southerlandian and Grouberovian memory, it is not well known if they have helped the listening of the enthusiast and the melomaniac; but certainly satiating the philologists, they particularly indulged in the vocality of Olga Peretyatko in the role of the protagonist Lucia.
So maestro Pidò has used every means to mediate between respect for what is written and the personal abilities of the prima donna, who has a voice that is anything but "light" and does not show particular ease in emitting high notes, yarns, piano and pianissimo. And here in the cavatina of the first act "Regnava nel silenzio", introduced by a harp that has squared the circle of perfection, the much neglected concluding G bass, practically never performed, has become an A flat. Similarly, in “Ardon gli incensi”, the equally neglected concluding E flat was played low, as it is written.
On the other hand, the tradition goes by in the infinite cadences of the scene of madness, but with an eye always attentive to the original writing, while the glassharmonica gave the touch of class. Cadenza after cadenza, in a correct but not exciting execution by an artist who has tried to avoid the dolls to which certain directions have accustomed her, but who still has to mature in her interpretation also on the stage and above all find the center for those only two high E flats, written, that he granted: the one at the end of the scene of the madness and the one at the finale of the sextet.
The audience, with bated breath, perhaps expected wonders and expressed some dissent, but it is clear that above all they were waiting for that string of high notes that didn't arrive. The beautiful Olga will refine her arduous role over time and with her exercise, but she can already read a "heavier" repertoire in her throat.
The calibrated and perfect emission, which never misses a semi-demiquaver rest, is that of Juan Diego Florez, an Edgardo who to define as extraordinary is an understatement. Obviously Maestro Pidò left him free rein in the more arduous and rarely performed cadenzas, imaginative and dotted with high notes, which are not lacking in the bow of the famous tenor. Vocally impeccable as always, but this time Florez was partly also in terms of interpretation. Evidently the drama benefits him; so much so that those starched flute characters one amazing high note after another that have often characterized him up to now, were quite far away, giving way to a humble Edgardo complete with an unkempt beard, felt and well interpreted. Florez, probably, finally seeks identification and heroic roles, in perspective to become, in the opinion of the writer, tempt him a lot.
As for George Petean's Enrico, one can only say well: the full, round voice, the optimal, powerful emission and the high notes that the considerable extension allows him have made him a Lord Ashton in full vocal splendor. Great voice that of the Romanian baritone, already accustomed to the role, who increasingly sharpens not only vocal but also interpretative weapons.
Jongmin Park's Raimondo was willing and had a beautiful vocal color, but with some difficulty in emission in the deep basses.
Other debutants, among the supporting actors, and all very good and correct; chorus of the Wiener Staatsoper nothing short of perfect, conducted by Thomas Lang. This Viennese Lucia di Lammermoor therefore proved to be first of all interesting to listen to, especially in the duets between Peretyatko and Florez: “Verranno a te sull'aure”, among all, it sparked a long ovation.
To move on to the staging by Laurent Pelly, in co-production with the Philadelphia Opera, with sets by Chantal Thomas and lights by Duane Schuler, the show is considered accurate in the direction; even if we don't know why, the singers under Pelly's directorial guidance always have to do with something fluttering around them. Here they had to deal with a presumed Scottish snow, which piled up invasive and sticky even in the interiors, created points of danger of loss of balance for the interpreters and forced the workers to use aspirators in the noisy intervals, and which seemed to take the place of straw redundant in his now famous production of Elisir d'amore.
So snow and snow in Thomas's scenes, too stylized, in an almost arctic Scotland; and then coats (in pied de poule for a little Lucia’ schoolgirl with a bespectacled Alisa almost like a governess), scarves, hats, gloves and a lot of sweat from the heat for the performers, in a style that is, however, all in all sober, where the costumes of the Elizabethan era, given the linearity of the scene and some modern but not too much and in any case dark and severe clothes by Pelly himself, probably would not have hurt.
Thanks above all to the musical result, therefore, a Lucia certainly of great overall quality, which the varied Viennese public greatly appreciated, bestowing heartfelt final applause to all the performers.
Natalia Dantas
PHOTOS Vienna State Opera | Michael Pöhn