ERMIONE by Rossini at the San Carlo in Naples – Review by William Fratti – The most loyal music lovers have come from all over the world –
When a serious opera by Gioachino Rossini, especially if it has been missing from the Pesaro stage for a while’ for years, it enters the billboard of a great theater like the San Carlo in Naples, the most loyal music lovers move en masse and, on this occasion, it must be pointed out that they have come from all over the world.
The real reason for interest is the participation of the international star Angela Meade in the role of Ermione, a role studied and performed with great success under the guidance of the late Alberto Zedda. After Guglielmo Tell and I Lombardi at the first crusade in Turin, the American soprano returned to Italy only for the Gala XL last August at the ROF, so following the cancellation of Luisa Miller in Parma, the wait has become important. Mrs. Meade is really good, there is no question about this, equipped with impeccable technique, punctual virtuosity, excellent use of winds, full voice in every note and that runs, Rossinian phrasing and intention from the textbook, particularly incisive dramatic accent. Nonetheless, it seems that she lacks a bond with the conductor and the orchestra, so the performance suffers, especially in terms of emotional grip with the audience.
The architect therefore seems to be Alessandro De Marchi who, despite being precise and methodical, lacks accent, vigor, dramatic intensity and finds it very hard to absorb the discordant feelings of the tragedy. On November 7, 2019, also accomplices an orchestra that is not always punctual and a choir that, on more than one occasion, leaves for his affairs. Sometimes the times a little dilated seem to put in difficulty the interpreters with a little wind’ too long.
Teresa Iervolino is technically and stylistically an excellent Andromache, but even in her case a certain quid is missing.
John Irvin is a very precise Pyrrhus, but his voice is too small for the great Neapolitan theater, therefore it appears decidedly insufficient, even if he sings well.
Antonino Siragusa returns to interpret Oreste after the recent success of Idreno and does so with his usual Rossinian knowledge. He unfortunately finds himself in difficulty with the times and is forced to finish the sentences with really unpleasant thrusts.
Guido Loconsolo is a rather effective Phoenician, while Filippo Adami's Pilade and Cristiano Olivieri's Attalo are somewhat’ precarious.
Gaia Petrone is struggling with the part of Cleone, too acute for her, while Chiara Tirotta is a decent Cefisa.
Jacopo Spirei's show is inspired by the Greek tragedy to demonstrate how current the sentiments described there are and is transposed into a modern neoclassical era made up of elements ranging from the Empire style to the twentieth century. The directing work seems to be done in a hurry, perhaps due to lack of time and this is especially noticeable on the masses, while it is more efficient on the protagonists and in the counter-scenes. The sets by Nikolaus Webern, the costumes by Giusi Giustino and the lights by Giuseppe Di Iorio are functional and quite realistic.
Rather contained applause for everyone, with only a few sporadic cheers.
William Fratti
PHOTOS © Francesco Squeglia