By William Fratti – A’cultural operation of very high level the production de The Tamerlane by Antonio Vivaldi in the critical edition of Bernardo Ticci
A show that is good for the heart and soul.
The production of de The Tamerlane by Antonio Vivaldi in the critical edition of Bernardo Ticci – co-production of the theaters of Ravenna, Piacenza, Reggio Emilia, Modena, Lucca – which follows the release for the Vivaldi Edition by Naïve of the album of the same name, available on all major streaming platforms.
The musical part is led by an exceptional Ottavio Dantone, who also writes the variations, with its mind-blowing Byzantine Academy, full of superfine sounds and sincerely touching accents.
Not least is the voice cast headed by a Philip Meneccia in great shape as the protagonist. From I swear, beyond the excellent singing line, the dramatic colors are appreciated, sometimes rendered with a skilful use of chest notes, and a highly expressive phrasing, which describes the character with great intensity and passion.
The good man joins him Bruno Taddia which here becomes gloomy in an excellent vocal performance by a Bajazet bent by misfortune, skilfully agitated in moments of anger, then more melancholic in moments of resignation.
Announced indisposed, Delphine Galou it is Asteria and it does not disappoint for the rendering of an almost perfect style. The indisposition is not felt, indeed perhaps it leads her to define certain passages with greater care, reconfirming a certainty in this repertoire.
Federico Fiorio it is a flower that is blossoming, a jewel that is slowly being chiselled and that we hope will continue on this path, since its song is pure grace.
Piroettante is the Irene of Shakèd Bar, perhaps a little too soaring in the sortie aria, where certain high notes appear a little harsh, but it is a quisqulia in the complex of a part sung and interpreted with accuracy and vigor.
Very good the Idaspe di Giuseppina Bridelli, flagship of the city of Piacenza, certainly proud of an artist who is deservingly bringing the name of the city to the top all over the world.
The show of Stefano Monti it is intelligent and centered on a timeless and gestural baroque world, with an omnipresent reference to puppet theatre. It is effective, but everything else is a bit old and already seen: the central platform, the red ropes and the projections are a boring legacy. On the other hand, the side sets are interesting, above all for their use in the second act and the costumes and make-up are very well cared for. Excellent lights Eva Bruno.
Excellent choreography by Marisa Boy and Omid Ighani for DaCru Dance Company which become an amplification of the moods of the characters. The very good ones Davide Angelozzi, Sara Arlotti, Elda Bartolacci, Graziana Marzia, Kyda Pozza and Alessandra Rogeri they are tirelessly on stage all the time redesigning the human destiny of the protagonists like puppets attached to their strings.
Great success at the end of the performance and great demand from the public for more Baroque.
William Fratti
THE TAMERLANO or the death of Bajazet [RV703]
Tragedy for music in three acts
Booklet of Agostino Piovene
Music by Antonio Vivaldi
Tamerlane Philip Meneccia
Bajazet Bruno Taddia
Asteria Delphine Galou
Andronicus Federico Fiorio
Irene Shakèd Bar
Idaspe Giuseppina Bridelli
Byzantine Academy
Director on harpsichord Ottavio Dantone
Direction, sets and costumes Stefano Monti
Lights Eva Bruno
Video/3D content Cristina Ducci
Painting on canvas Rinaldo Rinaldi, Maria Grazia Cervetti
Sculptures Vincent Whale
Illustrations Lamberto Azzariti
Dacru Dance Company
Choreography Marisa Boy, Omid Ighani
Photo Theater of Piacenza