by Natalia Di Bartolo – On the podium Jader Bignamini, directed by Stefano Poda, in the modern premiere of the critical edition of Rossini's Opera inaugurates the ROF season.
by William Fratti – Last work missing from the long and demanding catalog of critical editions of the Rossini Foundation, finally also Eduardo and Cristina arrives on the ROF stage.
Natalia Dantas
From high pulpits across the Alps, today we read that Opera and Classical have now become too "elitist", that the heads that crowd the stalls and stages are mostly white-haired and that the efforts of theaters and directors (especially the latter…), to "update" the work to attract today's audience. Therefore the writer, having also received direct assurances that now not even some of the interpreters themselves bother, due to exhaustion and disenchantment, to read the criticisms concerning them, first of all considers it superfluous, for the benefit of the now frenetic and bored reader, to preface a treatise on musicology to the review of an opera such as “Eduardo e Cristina” by Rossini, making its debut in modern times in’critical edition, edited by Alice Altavilla and Andrea Malnati for Rossini Foundation, at the Vitifrigo Arena in Pesaro, August 11th 2023.
It is only useful and productive to point out here how admirable and positive it is today recovery of this work, with the booklet, called «drama», written by Andrea Leone Tottola and Gherardo Bevilacqua Aldobrandini, successfully represented for the first time at San Benedetto Theater in Venice on 24 April 1819, which circulated until 1840 and then disappeared from the scene, reappearing in Germany, at the Rossini Festival in Wildbad, in 1997 and 2017. And’ reappeared today, in Rossini Pesaro, with all the trappings of philology, may she be blessed! Its fundamental importance is argued forcefully.
Who wants to know more about the “centone” Rossini, that is, a text made up entirely or mainly of passages taken from other compositions, in this case by the same author (Adelaide of Burgundy, Hermione, Ricciardo and Zoraide and Moses in Egypt) will certainly have the joy of consulting all the volumes wherever they are available.
Therefore, some voluntary reader less hasty than the others who will click on the hyperlink of this review will simply have the opportunity to read how the theatrical evening dedicated to “Eduardo and Cristina”, to Pesaro, was an interesting event in many respects.
First of all, as always first, cite the concertation and orchestral conducting and therefore the M° Jader Bignamini, leading the RAI Symphony Orchestra. It should also be emphasized that his execution of the critical edition gave him the opportunity, in perfect agreement with director Stefano Poda, to work on tempos, colors, instruments and voices.
The Master Bignamini he vaulted confidently between such times and such varied dynamics of a Rossini who enjoyed, as always, recycling and recycling themselves, with the taste of someone who, after cooking it, savors a good dish and is aware that the seasoning he is savoring, already used to stuff the pheasants the day before, can be used again the next day, perhaps for filling the cappelletti.
This is an excellent, well-mixed dish “Eduardo and Cristina”, full of echoes and also, to an attentive ear, of anticipations, tragic enough, but with a happy ending. Musically beautiful as a whole, the work deserves to be performed again.
They are Daniela Barcellona, in transvestite Eduardo, and treatises could be written about his voice: it is enough just to underline a timbre, an emission, a mastery of world-class agility: a voice for which time does not seem to pass, combined with a magnificent stage presence as always.
The protagonist's voice is notable Cristina, and’Anastasia Bartoli definitely grown compared to the times of the small part of Olga Sukarev performed in the Fedora at the Teatro Massimo Bellini in Catania in 2019. But already then the writer's ear had noticed her and "noted" her among the interesting promises. In fact, Bartoli has developed a soprano voice with an elegant timbre, with a technique that already shows signs of completeness, in a debut with fully deserved success for a decidedly not easy part.
The part of is also unlikely King Charles, supported by Enea Scala with decision and scenic authority, which gave strength and credibility to a projection that was not particularly effective and to some difficulties in the acute area.
A pleasant bass voice characterized the character James by Grigory Shkarupa, enter l’ Atlei by Matteo Roma he too would have needed greater projection.
The Ventidio Basso Choir showed some difficulties and therefore greater mastery of the choral part would have been necessary.
With regard to the Director, Stefano Poda hgiven a reading in full style, without place and time (the work is set in Sweden), skillfully using the presence of mimi who represented the states d”soul of the protagonists and surrounded them and interacted with them and seemed to multiply, as only nagging thoughts and threatening facts can do.
Caring as always too the scenes, the costumes (the ones of the protagonists are beautiful, with prints from ancient paintings) e the lights, the Pruning, in his beloved elegant black and white, seasoned only with a few notes of colour, he filled the scene with "presences", using the revolving center of the stage and inserting, among other things, in some moments, as a fulcrum, a set of cubes overlapping, a sort of "cage" of souls, in which the protagonists found themselves trapped, Cristina especially ed the little son Gustavo, a very young mime whose uncommon stage ability must be highlighted.
This character, silent but fundamental, in the end, taking refuge in the arms of his parents and "captured" by those of his grandfather Carlo, in reading the Poda it split. What Carlo had grabbed escaped him and fell as if dead, lost, probably, forever to the affection of those who had previously hated him so much and endowing the ending with an atmosphere that moderated the happy ending, making it more appropriate to the tragic climate of the entire work.
Great success with the public for everyone, definitely deserved.
Natalia Dantas ©
William Fratti
Last work missing from the long and demanding catalog of critical editions of the Rossini Foundation, finally also Eduardo and Cristina arrives on the ROF stage.
After disappearing from the 19th century stage, it was only performed on two occasions at the Bad Wildbad Festival; now the performance in Pesaro marks the closing of a circle for the entire event, but at the same time the beginning of new adventures that will arise with the continuous search and discovery of hidden Rossini materials.
The highly dreamlike show of Stefano Poda, perfectly constructed from every point of view, addresses the drama in a decidedly romantic way, as if to demonstrate the great contribution of Rossini to the new musical current of the time. The work carried out by the director - who also designs the scenes, costumes, lights and choreography - gives a sense of unity which finds its maximum expression in love as the author of the movement of the whole. The dancers are excellent and fill the stage with incredible professionalism and promptness of mind.
Daniela Barcellona in Pesaro he plays his umpteenth "first" role in the critical edition, as well as his umpteenth en-travesti role, bringing to the stage a statuesque Eduardo from every point of view, especially in style, proving once again that he is the absolute point of departure for the interpretation of a "new" Rossini character.
Anastasia Bartoli she is a Cristina with character, practically perfect in the second act aria and in the recitative that precedes it. In the rest of the opera, despite being very well sung, it does not convey an adequate Rossini flavor, which is why it appears a little disconnected from the rest. His dramatic vocality undoubtedly helps to perceive the difference between this work and the others from which the musical themes come, but a greater homogeneity of style would be preferable. In short: if he had sung the whole opera like “Ah no, it wasn't rest!” it would have been flawless.
Enea Scala he is a complete Carlo: excellent rendering of the character, excellent vocal interpretation, eloquent in phrasing, clear in intention, firm in the centres, well rooted in the low notes, soaring in the high notes, he confirms himself as the Rossini tenor of reference.
Good Grigory Shkarupa and Matthew Rome in the parts of Giacomo and Atlei.
Also very good for the management of Jader Bignamini at the helm of the excellent RAI National Symphony Orchestra, which focuses on effect while knowing how to maintain taste and elegance.
Well done to the Ventidio Basso Theater Choir led by John Farina.
The collaboration of the highly trained is unquestionably irreplaceable Julius Zappa.
William Fratti
Photo Amati Bacciardi, Stefano Poda