FERNAND CORTEZ by Spontini at the Maggio Musicale Fiorentino - Review

FERNAND CORTEZ by Spontini at the Maggio Musicale Fiorentino – Review by William Fratti and Renata Fantoni – Monumental work, inaugurates the 2019-2020 Opera Season

Monumental work by Gaspare Spontini, Fernand Cortez ou la conquête du Mexique, performed for the first time in the modern era in its first Parisian version of 1809, according to the critical edition of the Pergolesi Spontini Foundation of Jesi edited by Federico Agostinelli, inaugurates the Season Opera 2019-2020 of the Maggio Musicale Fiorentino.

It would have been interesting to attend an equally impressive and majestic show, as would be appropriate for the technological stage of the theater of the Tuscan capital, but despite everything Cecilia Ligorio, with the self-propelled sets on carts by Alessia Colosso and Massimo Checchetto, as well as some elements of equipment, creates a highly suggestive and functional setting. Nothing is missing, from ships to the temple, from cavalry to artillery. The work on the Spanish characters and masses is also excellent, while the whole Mexican part is more static and less effective, except for the beautiful scene that opens the third act. The same goes for some solo moments a bit’ too fixed, resulting then monotonous. The Spanish costumes and the male Mexican costumes by Vera Pierantoni Giua are excellent, while those of the female choir are rather modest. The lights by Maria Domènech Gimenez are fascinating.

The choreography by Alessio Maria Romano is extraordinary, especially that of the Spanish cavalry and that at the opening of the temple scene. The whole Compagnia Nuovo BallettO di ToscanA directed by Cristina Bozzolini was very good.

Jean-Luc Tingaud guides the excellent Orchestra of the Maggio Musicale Fiorentino with majesty and excellent French taste, conducting the lyrical tragedy with a truly surprising fluidity and purity of sound. The choir prepared by Lorenzo Fratini is also commendable.

Dario Schmunck is still the discreet bel canto player you know, but in this particularly heroic role he lacks polish, momentum and above all dramatic accent. On the other hand Fernand Cortez would be written for a more baritone and full-bodied vocality. The same goes for the character of Télasco, who is played by Luca Lombardo, unfortunately often uncertain even in intonation.

Alexia Volgaridou is a good Amazily in the first act, but as the story continues, rather evident signs of vocal fatigue are noticed.

Gianluca Margheri is Moralez, excellent in interpretation, excellent in the central chant, a little difficult in the low notes. Le Grand Prêtre by André Courville is quite effective.

The Spanish officer of Lisandro Guinis and the sailor of Davide Siega are insecure. The other supporting roles have been adjusted: David Ferri Durà as Alvar, Davide Ciarocchi and Nicolò Ayroldi as Spanish prisoners, Leonardo Melani as a Mexican officer, Silvia Capra and Delia Palmieri as Amazily's retinue.

William Fratti and Renata Fantoni