Puccini called his work “La Rondine” a “commedia lirica,” effectively COMIC opera, but I consider it a TRAGEDY that this work isn’t performed more in the opera house.

“La Rondine” comprises some of the most exquisite, emotive music the maestro ever penned. Alas, devoid of the dramatic impact and impetus of his more famous, regularly performed works, it is scarcely deemed worthy of staging by impresarios, given its lightweight theme: a doomed romance with no histrionic turn of events or tragic deaths.

Maestro Sir Antonio Pappano gave no thoughts to such trivial matters as he took to the podium at the Barbican in London however, where he commanded the London Symphony Orchestra (LSO) and a cast of singers in a concert version of the work.

Mainly obscured, as he invariably was in the opera house pit, it was a joy to see him, literally, under the spotlight and in full view. It is indeed a sight to behold, watching him at work, an elite marionettist pulling ALL the strings of his players, gesturing here, pointing there, driving his charges, dancing, gesticulating, prancing, at times so animated that I feared he would lose his footing and fall from his small, confined podium. That he is a musical genius is inarguable. The passion for what he does emanates from his very being, an almost tangible aura surrounding his enthusiastic, vibrant form.

The LSO itself, led by Pappano since September of this year, were quite majestic; again, the experience enhanced somewhat by virtue of being on full view, turning out Puccini’s score with exquisite care and attention.

Whether or not the lack of any requirement to concentrate on staging positions or real direction served to enhance or focus the singing performance of the artists, I can not say, except to state that this proved to be a euphonious delight, vocally.

Spectacular Singing

Nadine Sierra was penned in to perform the role of Magda, but she is in recovery from a medical procedure. Instead, Bolivian-Albanian soprano Carolina López Moreno  performed the role of Magda and positively shone here as the Parisian courtesan. She may have been a stand-in, but she had no need to refer to the score, singing with glorious aplomb. She possesses a shimmering tone, often voluminous, with a radiant, top. She delivered an exquisite “Ore dolci e divine” and her signature aria “Chi il Bel Sogno di Doretta?” was sublime, receiving much deserved applause.

Her chief admirer, Ruggero, was performed by the renowned American tenor Michael Fabiano who cut a rather studious, serious first impression with his bespectacled form. Vocally, seemingly hesitant in the early stages with his “Parigi! È la città dei desideri,” he soon blossomed to produce a fine and very sweet accompaniment in “Nella dolce carezza della danza” before producing a most sudden, unexpected and ardently pressed kiss that appeared to even take Carolina by surprise!

His powerful line and silvery top came into further prominence in the “Bevo al tuo fresco sorriso” quartet where his piercing tone cut through both the orchestration and eager chorus. He impressed throughout the evening, delivering a contemplative “Dimmi che vuoi seguirmi” which managed to avoid the usual, overly saccharine sentimentality. His “Ma come puoi lasciarmi se mi struggo in pianto” where he begs Magda not to leave him was genuinely moving and, for me, was one of the key highlights of the evening.

By contrast, the other lovebirds in the equation, supercilious poet Prunier and his secret on/off lover Lisette, maid to Magda, performed by American tenor Paul Appleby and Italian soprano Serena Gamberoni respectively, ham it up for laughs. Appleby has a fine, shiny bright tenor instrument with which he impresses throughout the whole first act. In fact, until Ruggero makes his entrance later in Act one, he holds the pivotal role as the lead tenor. He sets the stage and to a degree, the characters on it. His “Forse, come la rondine” was especially warm and enchanting, but his triumphs lay in his melodramatic yet witty retorts, along with the comedic squabbles with his girlfriend Lisette.

Gamberoni has a strong, expressive soprano and combined with her jocoseness, probably epitomized to perfection what Puccini meant by “commedia lirica”. Whether entering or exiting the stage, she did so with comical gusto.

More Performance Highlights

British baritone Ashley Riches takes on the role of Rambaldo, Magda’s wealthy ‘protector’. Cutting a very tall figure, he is suitably austere and constraining and sings his lines with rich, dark resonance.
Sarah Dufresne, Angela Schisano and Marvic Monreal are the essential party girls who give the whole show the requisite, essential sparkle, beauties for the eyes as well as the ears. I have frequently pondered why; after having seen her excel on a number of occasions now, Canadian soprano and former Jette Parker Alumna Sarah Dufresne has not been contracted to perform more substantial roles in the house. She has a voice of pure crystal, exquisitely polished, clarion and attention grabbing and I am always left wishing I could hear more of her.

The London Symphony Orchestra chorus made invaluable contributions here, not just with their delightfully engaging swaying during certain passages, but especially during the final passages of the “Bevo al tuo fresco sorriso” where the sheer wall of sound produced, quite literally, took one’s breath away. Possibly not surprising, given that their numbers were close to NINETY strong!

Whoever labelled “La Rondine” a “poor man’s ‘Traviata’” never lived, and certainly never loved. For what makes this underplayed mini-masterpiece so special is, frustratingly, the very reasons it is seldom staged. It is devoid of all the overly-melodramatic, theatrical murders, suicides and completely improbable tales of woe that are the hallmarks of most operas. Yet in its uncomplicated, simple story of near-tangible heartbreak, it is all the more potent for it. It is genuine. Real. TRUE verismo.
It’s NOT a “poor man’s Traviata.” It’s pure, unbridled richness for everyone.

The post London Symphony Orchestra 2024-25 Review: La Rondine appeared first on OperaWire.

This historic gift marks a significant milestone in the organization’s growth. The funding will allow ArtSmart to expand its programming in Greater Philadelphia by 40 percent. The organization plans to establish eight new studios across existing program partners and introduce programs at three new schools.

Since its conception in 2016, ArtSmart has been a cornerstone of arts education in Greater Philadelphia. The organization co-founded by Michael Fabiano and John Viscardi has delivered over 10,000 music mentorship sessions to nearly 450 students.

The William Penn Foundation’s Arts and Culture Grant provides access to high-quality, hands-on arts education programs that are designed to actively engage and benefit school-aged young people.

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The company said, “For tonight’s performance of Verdi’s ‘Il Trovatore,’ the role of Manrico will be sung by Arturo Chacón-Cruz.” The Mexican tenor will replace the originally scheduled Gwyn Hughes Jones.

This performance will mark Chacón-Cruz’s fourth performance at the Met following his surprise debut on Nov. 17 and performances on Nov. 22 and 26, which he also filled in for Michael Fabiano.

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The orchestra said, “Nadine Sierra has had a recent medical procedure, the recovery from which is taking longer than anticipated. She has therefore had to withdraw from the LSO’s performances of ‘La Rondine’ on 10 and 12 December. The role of Magda will now be sung by Carolina López Moreno.”

Moreno has performed at the Puccini Festival Torre del Lago, Carnegie Hall, the Metropolitan Club, the Berliner Philharmonie, the Jugendstil-Festhalle Landau, and Cambridge University in England, among others. She has performed the works of Offenbach, Verdi, Mascagni, Leoncavallo, Mercadante, Poulenc, Puccini, and Nino Rota.

Moreno is set to join a cast that includes Serena Gamberoni, Michael Fabiano, Paul Appleby, and Ashley Riches. Sir Antonio Pappano conducts the London Symphony Orchestra.

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The competition said that the new prize will be a $5,000 award honoring a tenor in the vocal competition who exemplifies exceptional artistry and vocal promise in the lyric lirico-spinto repertoire that defined the legendary career of Sicilian-Italian tenor Marcello Giordani renowned for his laser-beam brilliant and soaring high notes that captivated audiences worldwide.

The prize will celebrate Marcello Giordani’s legacy by inspiring young tenors to uphold the tradition of extraordinary Italianate tenor singing.

The prize is sponsored by Marcello’s wife, Wilma Aherns Giordani, Marcello’s voice teacher, Bill Schuman, Music director and soprano Christina Vial, tenor, Michael Fabiano, and tenor Stephen Costello.

Giordani died at the age of 56 in 2019 and was recognized for singing leading roles of the Italian and French repertoire. He had a distinguished association with the Metropolitan Opera, where he sang in over 240 performances.

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Michael Fabiano took to social media and said that he would be withdrawing. He said, “Friends. I’m withdrawing again tonight. I really got hit last week. I’m still recovering and doing better but not in a place to deliver an optimal performance tonight. Appreciate your patience. I’ll be back shortly.”

This is the third performance that the tenor withdraws from. He withdrew halfway through the Nov. 17 performance and canceled the Nov. 22 show.

As a result, Arturo Chacon-Cruz will sing the role of Manrico.

The Nov. 26 performance is set to star Angela Meade, Olesya Petrova, and Igor Golaventko. Daniele Callegari conducts.

Fabiano is expected to return for the Nov. 30 performance, which will mark his final performance of the run.

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The company said, “For tonight’s performance of Verdi’s ‘Il Trovatore,’ the role of Manrico will be sung by Arturo Chacón-Cruz.” The Mexican tenor will replace the originally scheduled Michael Fabiano.

This performance will mark Chacón-Cruz’s first full performance at the Met following his surprise debut on Nov. 17 in which he performed the final act of “Il Trovatore.”

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Following a historic performance on Nov. 17 when he made an unexpected Met debut in “Il Trovatore,” replacing Michael Fabiano in Act four, General Manager Peter Gelb has offered the tenor performances of “La Traviata.”

Gelb announced the news on News 4 New York saying that he was “discussing performances of ‘Traviatas’ for a future season.”

The evening also saw Leah Hawkins step into the role of Leonora in Act three and Gelb noted, “She is destined to sing this role as a leading star many times in the future.”

The Nov. 17 performance saw both Michael Fabiano and Angela Meade cancel the second part of the performance due to illness. Chacón-Cruz and Hawkins both stepped into the performance.

The Met and Gelb are somewhat late to the party on the Mexican-American tenor as Chacón-Cruz has enjoyed a major international career for decades, performing at the San Francisco Opera, Las Palmas, Gran Canaria, Teatro Massimo di Palermo, Florida Grand Opera, Arena di Verona, and Teatro dell’Opera di Roma, among others.

Hawkins has performed at the Metropolitan Opera, Arizona Opera, Santa Fe Opera, and  Pittsburgh Opera.

 

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Mexican tenor Arturo Chacón-Cruz made an unexpected house debut as Manrico while Leah Hawkins made her role debut as Leonora.

Chacón-Cruz replaced Michael Fabiano, while Hawkins replaced Angela Meade. Both  Meade and Fabiano took to social media to announce that they could not continue the second part of the evening due to illness and also showed support to their colleagues.

Chacón-Cruz is well known for his interpretation of the opera having performed it at the San Francisco Opera and Las Palmas, Gran Canaria. He has performed at the Teatro Massimo di Palermo, Florida Grand Opera, Arena di Verona, and Teatro dell’Opera di Roma. Hawkins has performed at the Metropolitan Opera, Arizona Opera, Santa Fe Opera, and  Pittsburgh Opera.

“Il Trovatore” also starred Olesya Petrova, Ryan Speedo Green, and Igor Golovatenko. Daniele Callegari conducts.

Meade and Fabiano are set to return to the production on Nov. 22.

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You’ve heard the cliché that Caruso famously said about doing a production of “Il Trovatore…” You know it. I won’t repeat it.

The spirit of the idea stands, but the reality is that it takes far more than just sticking four superstars on stage and letting magic happen. It doesn’t always work that way. Mainly because this opera is far more complex and requires some strong casting both to provide solid contrast musically, vocally, and temperamentally. It’s an opera whose plot has been ridiculed for its nitpicking despite providing some interesting character contrasts and insights with larger thematic complexity. A civil war between nobles and Romani with two brothers, unknown to one another at the core of the battle and their questionable love for a woman furthering this division. Manrico loves Leonora and wants to be an archetypal hero, but he’s stunted in his maturity, ready to throw it all away for a mother he can’t quite understand. Di Luna wants Leonora, but his love is shrouded in a need for power. Azucena loves her son, but wants to murder him because she already killed her actual son. Unfortunately, Leonora gets the short end of the stick in terms of character development, but Verdi gifts her with some of his most expansive and glorious melodies and a potent death scene to boot.

The opera’s music is bel canto in its structure, but the vocal writing can get pretty hefty for the main quartet, and finding voices that complement one another in this sense can make or break the cohesion on display.

A True Verdi Tenor

For its revival of “Il Trovatore,” the Met Opera managed to find a truly complementary quartet.

As the leading man, Michael Fabiano sang just his second Verdi role at the Met. I highlight this because I don’t understand why he isn’t doing a Verdi opera every year or why the Met Opera management isn’t doing everything in its power to facilitate this. To say this role of Manrico is tailor-made for Fabiano is obviously untrue, but it surely doesn’t feel like an exaggeration. From Manrico’s opening “Deserto sulla terra” to his final “Ah! Madre, addio!” the tenor delivered a seminal display of incredible Verdi singing. His is a creamy tenor that fits the muscularity of the Verdi line perfectly, with potent squillo in the upper range and elegant portamenti throughout. Fabiano’s singing recalls the quality so many wax nostalgic for in older recordings.

He delivered “Deserto sulla terra” with finesse and seeming ease. He might have been backstage, but his presence was felt intensely, each line building gloriously. He contrasted the suave “Desserto” with a far more pointed vocal interpretation during the ensuing trio, his tenor boiling over as the rage built throughout the ensemble.

This was neatly contrasted in Act two during his scene with Jamie Barton‘s Azucena. Manrico doesn’t do much during “Condotta ell’era in ceppi,” save for a few interjections to accentuate Azucena’s most vile revelations. A lot of tenors stay out of the way here to give the mezzo space to build the story, but the reality is that Manrico is the audience surrogate here and even if we know the story already via Ferrando, this is the first time we are hearing Azucena’s perspective. And hers is far more detailed and painful than Ferrando’s could ever be. So Fabiano’s increasingly potent interjections particularly the repeated “Qual orror” added to the heart-ripping intensity of the moment.

“Non son tuo figlio” was delivered with gentle and pained piano singing that permeated much of the ensuing recitative. Here we saw Manrico the tempered son, confused but also in a way indebted to his mother. “Mal reggendo all’aspro assalto” was delivered with a full-bodied sound, Fabiano’s recount of Manrico’s heroic exploit against Di Luna allowed its due vigor. Oftentimes, you’ll hear those final “non ferir” sung sotto voce, to accent the “grido vien dal cielo,” but Fabiano didn’t relent here. He continued crescendoing to that climactic A natural and sustained that potency through to the end of the line, adding to Manrico’s pained sense of guilt. The more militant “Si lo giuro,” was delivered with increased ferocity and the tenor imbued “Un momento può involarmi” with a sense of urgency.

But of course, the defining moment for any tenor happens in Act three, scene two. And here Fabiano allowed his voice free reign, the texture softening without sacrificing volume during “Amor, sublime amore.” “Ah sì, ben mio” was emblematic of glorious bel canto singing, each phrase melting into the next, the intensity heightening. It’s a hard aria and many tenors run out of gas by the end, throwing way too much into the early going. But Fabiano was in firm control throughout, the high notes blossoming gloriously, the entire upper range even and well-mixed with the rest of the voice. He ended the aria on some of his softest singing of the night, a honeyed diminuendo on “la morte a me parrà.”

Leonora and Manrico’s bliss lasts but seconds as the two engage in a sweet duet, “L’onda de’ suoni mistici,” and Fabiano and Willis-Sørensen met the moment with similarly sweet piano singing, their voices melting into one another.

For “Di quella pira” Fabiano was at his most robust, the tenor trumpeting over the imposing orchestra display. While the interpolated high B’s lacked a bit of body, they were nonetheless impressive in their power.

The tenor echoed his glorious “Deserto sulla terra” with a similarly haunting rendition of “Ah! che la morte ognora,” each reprise of the melody full of longing, the voice gleaming in the space.

Fabiano was at his most touching in the final scene, his singing full of tenderness throughout the duet with Barton’s Azucena, each repeat of “Riposa, o madre” colored with sorrow and guilt.

But he somehow saved his best for “Parlar no vuoi,” the disgust, anger, pain, and desperation coming to the fore as the tenor delivered some of his most aggressive and yet pained singing of the night. That trio in particular was probably the most sublime and visceral moment of the entire night. Fabiano’s Manrico was caught up in his feral pain with wave upon wave of intense Italianate sound. Willis-Sørensen contrasted that with a darker and more jagged “Fuggi! O sei perduto!” And in the midst of their struggle, Barton brought in an almost angelic crescendo to reassert “Ai nostri monti” in all its nostalgic splendor. These three contrasting emotions could have been a mess musically and yet they were exactly what Verdi was aiming for. And the three artists, led by Fabiano’s emotional commitment made it the most riveting moment of the night. And that’s an incredible note to end a performance on.

The program included a single sheet of paper mentioning that Fabiano had injured his ankle during the previous performance and that that would limit his mobility. And while he clearly couldn’t run off stage, was far more measured during the duel, and leaned on other colleagues at times for support, he never looked out of it. There was one moment where he dropped to the ground during his Act two duet with Azucena during which he was so involved in the moment that he forgot about his ankle, until he made contact with the ground and subtly winced. A few more people in the audience did too. But otherwise, the tenor did his utmost physically throughout and more than made that issue inconsequential with his glorious vocal rendition.

In terms of Verdi’s major repertory at the Met, Fabiano had only gotten to do “La Traviata” prior to this “Trovatore.” Let’s hope there’s more in store in the coming seasons.

Stuck in the Past

If Manrico is stuck between his filial duties and heroic passion and love, Azucena is stuck between the past and the need for vengeance and her present love for her son. And Jamie Barton managed to find this throughout her vocal performance. “Stride la vampa” was quite restrained and soft in its interpretation, almost as if she were singing for herself and sucking everyone in with her. When her Azucena jumps up and points a dagger at a young child, the moment comes out of nowhere and yet it reveals how dangerous she can be to herself and to hers. Approaching the aria with this degree of restraint offered Barton a ton of options for musical build. Not only could she build out the trills at the climax of the aria, expressing the character’s repressed anger, but it greatly benefitted the true masterpiece of this character introduction – “Condotta ell’era in ceppi.”

This lengthy narration of Azucena’s traumatic past builds to a painful revelation and similarly cathartic music. The “aria” is a masterpiece of musical storytelling, a militaristic-rhythm echoing her mother’s march to her death, with a sighing motif by the strings suggesting emotional instability. The music grows frantic, the vocal line in the lower register and jumping from piano to forte, with accents growing increasingly frequent throughout the rising jagged line. Barton’s voice matched these frenetic shifts, her “mi vendica” pointed and grainy. Her forte enunciations of “Il figlio mio” on the high F were full of desperation and the ensuing “Sul capo mio” was delivered with a sublime chest voice, the viciousness of those low Cs and As hair-raising. Thank god for the lengthy applause afterward because I needed a moment to recover from the traumatic journey that that “aria” took me on.

Azucena goes from re-living those fateful experiences to suddenly being a caretaker and Barton’s interpretation of the character in these moments oscillated from gentle to overbearing, particularly as Azucena chides Manrico for not killing Di Luna. Barton’s singing took on a hardened edge to match the stacatto rhythm of “Ma nell’alma dell’ingrato” followed by a more longing expression on the legato phrase on “detto, non parlò.” Fabiano and Barton’s voices aren’t an obvious match, especially given how different they are. But the two managed to find a balance that served the music and drama throughout the scene.

She didn’t care for that balance during the ferocious trio with Di Luna and Ferrando and it served the drama splendidly. Barton might not have been able to match them in terms of volume (and to be fair, musically and dramatically she is outmatched), but the mezzo-soprano made up for it with piercing articulation and accents coupled with a venomous glare that made it impossible to look away.

The final duets with Fabiano were gloriously sung, with Barton at her most tender. She didn’t need the bombast of previous moments and it recalled her “Stride la vampa” in both its restrained qualities, but also in its stark contrast. Where the first aria was marked by hints of underlying bitterness, there was only sweetness in Barton’s singing. I can’t help but bring up that crescendo entrance into the final trio with Manrico and Leonora because it was one of the most sublime musical events of the evening.

Powerhouse

I want to preface this section about Rachel Willis-Sørensen’s Leonora by noting that it took me some time to warm up to her interpretation. But slowly, and surely I started to recognize what she was aiming for and grew to truly respect the artistry at hand. While many of her artistic choices weren’t for me, there’s no doubt she delivered an incredible performance.

So what exactly did I struggle with? Color.

Willis-Sørensen’s first scene, marked by the double aria that opens with “Taccea la notte placida” and features some ethereal recitativo prior, is simply stunning vocal writing. And a lot of sopranos bring this fact to light by luxuriating in the musical warmth Verdi bathes us in, adding in the gentlest of tones, the softest of pianos. Willis-Sørensen didn’t do this. Instead, she opted for a more jubilant approach, the sound bright and forward throughout. She didn’t wade in rallentandi, instead sustaining the momentum. This was evident throughout “Come d’aurato sogno” and then, especially during the arching phrases of “dolci s’udiro e flebili” and “gli accordi d’un liuto.” The ascent to the B flat on “Un trovator cantò” was similarly propulsive. On the first rendition of this melody, it might not seem like a big deal if there is some variance the second time around. While there was slightly softer singing at the start of “Versi di prece” and a bit more expansion on “Gioia provai che agl’angeli,” it was extremely subtle in its execution. Again the ascent to the high B flat at the climax of the phrase was also quite quick. The soprano didn’t seem at all at ease with the high C (though to be fair few sopranos do) and she sped right through that one as well. The soprano managed “Di tale amor che dirsi,” though the coloratura scale up to the C was fudged with a noticeable break at its peak.

The trio was solid all-around with the soprano’s intensity matching that of her colleagues. When I talked about casting at the top of this piece, this is what I meant. They were all robust, potent voices that could dovetail with one another in both softer and more muscular passages.

But things started getting much more interesting with Willis-Sørensen’s interpretation at the close of Act two during the concertante “E deggio e posso,” her most delicate colors finally started to appear. There was still a brightness and forwardness in the sound that was allowed to erupt with brilliance at the apex of the passage and it was undeniably the most impressive singing the soprano had delivered up to that moment.

Then she won me over in Act four.

From the start of “D’amor sull’ali rosee,” the soprano took on a darker but somehow softer and gentler color. It was clear she had these colors in reserve for this moment to offer up a stark contrast with her opening sections where Leonora is full of hopium and professing her love openly to Ines. Here, with death looming, greater intimacy is afforded as she ruminates alone in a dark prison. And the expansion that I was missing in that first aria, was allowed ample room to reign here. The high A flat on “conforta l’egra mente” got some breadth, as did the quarter note high B flat and high A flat on “Ma, deh! non dirgli improvvido,” the soprano softening the notes to emphasize the sense of pained longing. And while she similarly expanded phrases on the high C, and high B flat moments later, it was also clear she wasn’t going to luxuriate on them; interestingly, these higher notes are written as eighth notes so there did seem to be an attempt to preserve rhythmic integrity in the phrase. It’s not usually how most sopranos interpret the moment, and not my personal preference, but it was emotionally and musically effective all the same.

More impactful was the ensuing “Miserere” where Willis-Sørensen the soprano imbued her voice with a grainer edge in the lower register, the sighing eighth notes on “palpiti al cor” accentuated like laments. By the end of the passage, Willis-Sørensen delivered with greater resoluteness, providing a palpable emotional bridge from the defeated “D’amor sull’ali rosee” to her full-blooded “Tu vedrai che amore in terra” growing in strength through until blossoming into and forceful coloratura scale on “scenderò.” During the coda, the soprano’s voice was at its most muscular on the night, rising over the orchestra.

During “Mira, di acerbe lagrime,” Willis-Sørensen retained that heftier quality, matching baritone Igor Golovatenko‘s robust sound throughout, her interjections of “ma salva” during his solo passages growing in desperation and intensity. The soprano was equally impressive in “Vivrà! Contende il giubilo” mixing brightness and darkness at the extremes of her voice, portraying both Leonora’s excitement at Manrico’s life being saved and the dread of death being upon her. When the Count walks up behind her, she used one of the coloratura runs as an expression of her disgust before shifting away from him.

This duet was notable for being Willis-Sørensen’s most physically involved, the soprano rushing around the stage away from the baritone’s attempts to grab her. When she did give in, it wasn’t without the subtlest displays of struggle, the disgust palpable.

And Willis-Sørensen saved her softest and most impactful singing for her final “Prima che d’altri vivere,” her voice floating gloriously, the high A flat allowed to soar into a beautiful portamento an octave down for “io volli tua morir.” Her voice grew softer in the final instances with a sublime “Addio” capping off a powerful performance from the soprano.

Mixed Showing

Baritone Igor Golovatenko was a mixed bag as the Conte di Luna. His first utterances of “Tace la notte!” were sung like a glorious whisper and on the heels of Willis-Sørensens brighter double aria, provided an essential contrast. But that was the full extent of his gentle singing for the rest of the night as the baritone seemed most at home when he could thunder his way through a passage. His voluminous sound really delivered a knockout during the ensuing trio, where all three singers were allowed an opportunity to blast their way through the exciting passage. And the same went for how his potent baritone struck a contrast to Willis-Sørensen during their final duet “Mira, di acerbe lagrime” or how his voice locked horns with Barton’s during the Act three “Deh rallentate.” Or the aggressive retorts during the concertato “E deggio e posso,” his “Dunque gli estinti” pointed and booming. He was formidable.

But we all know that the substance of Di Luna’s role comes down to the massive contrast that happens in Act two – namely the glorious “Il balen del suo sorriso,” arguably the most tender aria in the entire opera. While Golovatenko started gently enough, there was still a jaggedness to his phrasing that he could not shake off. What’s more, breath control seemed labored in certain passages, most notably on “Ah! l’amor, l’amore, ond’ardo le favelli in mio favor,” two identical back-to-back phrases that are traditionally sung with a slight rallentando to facilitate the ornamented turn. Moreover, many baritones attempt it in a single breath to add to the shape and fluidity of the line. Golovatenko could do neither. He rushed the first of these “L’amor, l’amore,” the ornament barely recognizable; the repeated vocal line was a bit more expansive, but it was also clear that the baritone was not fully comfortable. From there, the aria builds in its intensity, the baritone allowed far more vocal expansion to explore di Luna’s passion for Leonora. But since Golovatenko already started with a rather potent sound, the line never felt like it built further, the aria never fully taking flight. It felt very much like Willis-Sørensen’s “Tacea la notte placida,” but with vocal struggle and overall lack of comfort.

As Ferrando, Ryan Speedo-Green‘s rugged bass provided a solid contrast to everyone else on stage. It took him some time to warm up in the “Abbietta zingara,” but by the time he got to “Asseri che tirar del fanciulli,” he was in full control and his bass cut cleanly through the orchestra as each line built and built throughout the narrative. More impressive was his aggressive “È dessa” when realizing that Azucena is the fabled Roma woman who stole the late Count’s son. His ensuing “trema,” with his grainier sound added a forceful layer to the ensuing ensemble, his towering presence over Barton’s Azucena menacing and formidable.

In the pit, Daniele Callegari led the Met Opera Orchestra in what I can only describe as dream-like for Verdi fans (though to be honest I don’t love that every traditional cut was employed, even if I understand why they were used). The tempi ebbed and flowed to support the singers, but always carried forward momentum. Even though some of the tempi were far faster than most other performances, but they never felt jarring or exaggerated. The balance in the orchestra with the singers was second to none, but the coloring of the ensemble was equally masterful. The opening timpani quakes built on one another. I felt that the opening chords were somehow a bit gentle and soft, but this allowed Callegari to build the aggression and violence in the music throughout the night, much in the same way Willis-Sørensen’s Leonora expanded her vocal colors. The second scene of Act four opens with a series of chords, foreshadowing Verdi’s opening musical gesture of “Niun mi tema” in “Otello.” Callegari and the orchestra’s gentle approach to this moment harkened back to the opening notes of the opera, seemingly bringing the entire opera full circle in its pain. The contrasts between the muscular baritone-accompanied brass and the gentler soprano-accompanied strings in the Act four duet were notable. There’s a glorious violin melody during the Act three trio between Azucena, di Luna, and Ferrando that was played with incredible warmth. I’ve heard this opera so many times, both live and on recording, but I always marvel at how Verdi could find such tender and sublime melodic invention in a piece so dark and nihilistic. It always feels so new even if it is so familiar. The performance of that particular melody in that moment gave me another one of those moments of discovery.

David McVicar’s production remains one of the great Verdi productions on the Met stage. Here are my full thoughts from the last time I saw this opera at the Met (editor warning: this was written in 2018 and the word “gypsy” appears throughout instead of the proper “Roma” / “Romani”).

All in all, this was a tremendously successful revival with a wonderful cast and a fantastic conductor that matched one another quite well.

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