Verdi's TWO FOSCARI in Parma - Review by William Fratti – The critical edition is back after ten years on the stage of the Teatro Regio –
Performed for the first time in a preliminary version on the occasion of the 2009 Verdi Festival, the critical edition of I due Foscari edited by Andreas Giger was published in 2017 and returns after ten years to the stage of the Teatro Regio in Parma even more up-to-date, in the its final form.
Leo Muscato decides to transpose the story to the time of the composition of the work and the choice seems quite right. The Doge could be an old Giuseppe Verdi who remembers his unfortunate youth, Jacopo looks like a young Verdi trapped in the “years in prison” and that he too soon has to give up his first wife Margherita, here Lucrezia, and their two children. The evocative scenography by Andrea Belli also contributes to evoking this dream and these rather tragic feelings, which makes use of a few useful elements for indicative purposes; as well as the beautiful costumes by Silvia Aymonino, accompanied by an excellent make-up. The fascinating lights by Alessandro Verazzi complete the show. It's a pity that the direction is very concentrated on gestures and looks, leaving a certain void in the movements and in the counter-scenes, so much so that it is a little boring at times.
Paolo Arrivabeni drives the good Arturo Toscanini Philharmonic with a firm and sure hand and has the advantage of being rather compact and adhering to the score. Always excellent is the performance of the Chorus of the Teatro Regio di Parma prepared by Martino Faggiani.
Vladimir Stoyanov is a good Francesco Foscari. First of all, the Bulgarian baritone confirms, for the umpteenth time, that he is an excellent Verdi interpreter, but this character needs more marked phrasing and dramatic accent.
The same goes for Stefan Pop's beautiful voice. The role of Jacopo Foscari has brought many great tenors to their knees, but the Romanian singer is not intimidated and faces it with the right attitude, however lacking that absolutely necessary polish that should rise from the big centers to the high notes.
The presence of Maria Katzarava in Lucrezia, for the second time at the Verdi Festival after Stiffelio, is an absolute mystery. It is true that the Mexican soprano won Operalia in 2008 and, like many other winners of the competition founded by Placido Domingo, she was immediately launched internationally, but this is not synonymous with singing well. First of all she is graceless and inelegant, just see her next to the much more refined Pisana by Erica Wenmeng Gu. She also speaks in the low notes, up to the end where an entire sentence is totally distorted. Colors and phrasing are minimal.
Giacomo Prestia is a luxury Loredano. Suitable for their roles are Francesco Marsiglia as Barbarigo, Vasyl Solodkyy as an infantryman and Gianni De Angelis as a servant.
William Fratti
PHOTOS Roberto Ricci