By Natalia Di Bartolo. A show in the true sense of the word, a well-deserved success for a highly enjoyable setting – On the podium Maestro Lanzillotta.
On stage at Teatro Massimo of Palermo, on 23 October 2022 a Nabucco which had been postponed from 2020 due to the well-known events of the pandemic.
And’ a joy to meet again at the theater and also and above all to attend a show worthy of the name. The Verdi masterpiece, in fact, was created by Teatro Massimo in co-production with the Teatro Regio di Torino, with a wealth of means and an appropriate choice of direction and voices.
The Maestro Francesco Lanzillotta he "held" the Verdi opera with a steady pulse and good taste. The young conductor has maintained “canonical” times and dynamics, but not easy to reach for this reason. Excellent l’Orchestra of the Teatro Massimo, who followed it with extreme attention and with the result of an amalgam of grandiose but not bombastic effect. Which is the best but which, it is repeated, is not always possible to obtain. So, praise be given to the conductor who also gave excellent support to the performers on stage.
In eponymous role the baritone Roman Burdenko, very interesting voice, rich in nuances and full and full-bodied. Finally a Nabucco who cannot stand on crutches for old age or a young man with high hopes. Burdenko knew the fact of him well and proved it amply. We hope to see him again and listen to him again in other roles soon.
Speaking of Nabucco, the first character that comes to mind, more than the protagonist, is the prima donna: Abigaille, with its improbable and at times almost unattainable part due to technical difficulty, especially in emission and projection, due to the continuous rise and fall from low to high and vice versa. A great voice that of Ewa Płonka, who was able to identify herself in the role also from a dramaturgical point of view, but interesting above all for the vocalism, with a shrill and penetrating sharp cut, at times so unrestrained as to not be able to contain some technical nuances, in particular in the cabaletta "I am already ascending the golden throne", but still of value and that should be resumed and filed properly, certainly with an out of the ordinary result. The artist has an evident and absolutely dominant character and this has been seen clearly, recognizing in her also expressive and emitting moments that reminded us of Lady Macbeth, a role for which she seems to be tailor-made.
In the role of Fenena the soprano Silvia Beltrami, who fit in perfectly with the role and who gave proof of suitability for the role.
Luca Tittoto was Zaccaria, low that in the team of the cast was a point a bit’ weak for emission and projection, despite the efforts made and the Maestro Lanzillotta who followed him with extreme attention and vice versa. Vocally not robust enough or particularly suited to the role, which requires a strong interpreter, both vocal and interpretative, he also performed well in the concertos, which were of excellent overall effect.
A little’ unripe l’Ishmael by Vincenzo Costanzo, but firmly planted in its place and role; Also corrected all the other performers and shrill the choir directed by Maestro Salvatore Punturo. Maybe a little’ too strong at times, but still compact and effective, even in the famous “Va Pensiero”.
The Director was edited by Andrea Swans, for once without upsetting anything, but giving a certain static to the masses, to which we are no longer used. A “traditional direction”, which every now and then, these days, does not hurt, supported by the beautiful costumes by Tommaso Lagattolla, who also attributed to Abigaille a half-shaved head, similar to the one that was made famous by Queen Elizabeth I, perhaps in order to evoke a call to female power, which over the centuries has always animated and sometimes upset history.
Cigni also underlined not only the overall data of the story of struggle and divergence between peoples, but also that of family struggle and divergence, between the father and the two sisters and between the sisters between them. A point of view that even this does not hurt, since now these characters are stigmatized in their roles and give them back a little’ of humanity and feelings is a fact to be appreciated.
The well-kept Fiammetta lights Baldisseriresumed from Gianni Bertoli, in scene bare but effective of Dario Gessati.
Keen appreciation from the public; and sincerely also hearing the applause, chatter and comments of the live spectators is a good time to finally return to the theater.
Natalia Dantas ©
Photo Rosellina Garbo ©