PETER THE GREAT KZAR OF THE RUSSIA by Donizetti in Bergamo –...

PETER THE GREAT KZAR OF THE RUSSIA by Donizetti in Bergamo – Review by William Fratti – A figurative show strongly inspired by the Russian avant-garde –

Continuing the scientific research work, as well as the #Donizetti200 cycle begun last year with Enrico di Borgogna, the Donizetti Opera – winner of the Berlin Oper! Awards 2019 – brings back to the stage Peter the Great, Kzar of the Russias, whose only performances in the modern era date back to the celebrations for the three hundredth anniversary of the foundation of St. Petersburg in 2003.

Ondadurto Theatre – Marco Paciotti and Lorenzo Pasquali, debutants in the world of opera, bring to the Sociale a figurative show strongly inspired by the Russian avant-garde, Vassily Kandinsky, Vladimir Mayakovsky, as well as Oskar Schlemmer, thus finding a way to pay homage to the principles of modernity of the great emperor. Their direction is highly functional, well oriented towards the characterization of the characters, with good movements of the protagonists and the chorus. The only weak link is represented by the scenographic machinery, which is too obviously scrap metal and therefore deviates from the general principle of color proposed here, in which yellow prevails, which can be traced back to spiritual heat according to Kandinsky. Even the video, with a few more adjustments, could have been more blended into the show, without being a little invasive. Ondadurto make use of the very nice costumes of K.B. Project, but great applause goes above all to the hair and makeup artists. Marco Alba's lighting project is effective.

Finding an expert in the baroque repertoire like Rinaldo Alessandrini at the helm of this melodrama is certainly an experience of high cultural value, since the director allows a listening experience that is never invaded by the mature Donizetti, but completely lets out the musical habits of the first twenty years of the 19th century, Rossini first and foremost. The entire musical movement throughout the story is always homogeneous, clean and full of style. The Gli Originali Orchestra is excellent, playing instruments of the time, allowing a much more faithful listening experience to the original. The Donizetti Opera Choir prepared by Fabio Tartari was excellent.

Roberto De Candia, in the title role, reconfirms his usual musical and artistic professionalism, making a fair and authoritative character, with a mature vocality that fully expresses these qualities. In his virtuosity he no longer possesses the elasticity of the past, but it is a small thing compared to his ability to truly do bel canto.

Paola Gardina is a genuinely surprising Madama Fritz. Her cavatina, typically Rossinian in flavour, could almost be paired with the aria of a Colbran role. Punctual agility, sustained high notes, low notes of elegant mixed emission, qualities that distinguish it until the beautiful final rondo. It would be interesting to listen to Mrs. Gardina again in a larger theater and with a different orchestra to fully understand her talents.

Fully deserved is the personal success of Marco Filippo Romano in the role of the Magistrate, brilliant vocally and eloquent phrasing, he shows off not only for his usual funny qualities, here always supported by clean sounds, but also for his very bright high notes.

Good performance by Francisco Brito, who knows how to portray a good character and has one of the most beautiful voices in the light panorama of Italian bel canto, but unfortunately he is often stripped down and poorly in tune, especially in the low notes.