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.

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Composed by Gioachino Rossini in 1818, “Mosè in Egitto” is an opera that deserves close attention for its historical and musical significance. Created during a transitional phase in his career, Rossini crafted a masterpiece that merges sacred drama with opera seria. Based on the biblical tale of Exodus, Moses in Egypt marks a turning point in Rossini’s lyrical output, representing a meaningful step towards his development of Romantic opera.

Commissioned by Teatro San Carlo in Naples for a Lenten debut in March 1818, the work was conceived as a sacred drama, avoiding the profane elements typically prohibited during Lent. Featuring rich elements of religious devotion and the grandiosity of Italian melodrama, it stands out for its spiritual depth and dramatic power. Recognizing this, the Teatro Comunale di Modena, Teatro Municipale di Reggio Emilia, and Teatro Municipale di Piacenza joined forces in 2024 to bring a new production of this singular title to life.

Illuminating Production Details

The original 1818 staging drew heavy criticism for a critical scene: the parting of the Red Sea. Technical mishaps undermined the spectacle, drawing unintended laughter by the public and severs reviews instead of awe. Staging such wonders from the libretto—like the miraculous parting of the sea—is a chance to explore advanced theatrical technologies and offer audiences a breathtaking visual experience.

For the Italian co-production in question, Pier Francesco Maestrini proposed an extremely ingenious traditional version that fulfilled the effects Rossini and impresario Barbaja once envisioned. The Florentine director made use of technology, artificial intelligence and, of course, the talent of his creative team to surprise and thrill the audience by recreating the biblical plagues, but above all with the imposing and risky ending of the opening of the sea to exterminate the Egyptians.

The set design and video projection were the key pieces of the production, both created by Nicolás Boni. The Argentine set designer created a 3D stage, positioning animations on a backwall that occupied the entire back of the stage, while a transparent cyclorama positioned on the proscenium projected the complement of what was happening in the rear animations, thus creating a three-dimensional space where the scene took place.

The dark lighting design by Milanese Bruno Ciulli helped Boni’s animations to shine; although moments of great luminosity occurred when one of Moses’s miracles took place, making a perfect pair. For their part, the costumes designed by Stefania Scaraggi were of great help in differentiating the Egyptians from the Jews, a banality that is not always so evident in some conventional productions and that is very useful for the spectator.

Cast Highlights

This “Mosè in Egitto” exemplifies Rossini’s stylistic evolution, blending the force of religious drama with the lyrical beauty of bel canto. The character of Moses, a figure of divine and moral authority, was masterfully portrayed by Michele Pertusi. The Parmesan bass brought impressive gravitas, displaying a deep grasp of serious bel canto. His rendition of “Tu di ceppi m’aggravi” —an aria Rossini recycled from “L’italiana in Algeri’s” Mustafà— demonstrated enviable vocal control and earned well-deserved applause.

Andrea Pellegrini gave a dramatic portrayal of the Pharaoh, whose resistance to liberating the Hebrews forms one of the opera’s main tensions. Although vocally uneven, Pellegrini compensated with a nuanced acting performance. In contrast, Italian soprano Mariam Battistelli brought Amaltea to life with a crystalline, agile voice, convincingly portraying the Pharaoh’s wife who tries to protect the Jews because she secretly converted to their religion.

Rossini faithfully follows the biblical framework but introduces themes of inner conflict, forbidden love, and redemption—hallmarks of emerging Romantic opera. The lovers Osiride and Elcia, divided by religious and political obstacles, echo the star-crossed lovers of classical tragedy. Dave Monaco brought Osiride, the heir to the Egyptian throne, to life with a light but graceful and elegant voice. The tenor with beautiful high notes and a correct singing line offered an excellent stage and vocal performance. In contrast, the Romanian soprano Aida Pascu as Elcia was a bitter disappointment. Although her middle register had a certain charm, as she ventured into the high register, her voice became more stifled; as she reached the high notes an unpleasant hollow sound ruined Rossin’s iconic concertantes.

Andrea Galli played Mambre, the high priest dismissive of Moses, with impressive stage presence despite limited vocal projection. Moses’s siblings, portrayed by Matteo Mezzaro as Aronne and Angela Schisano as Amenofi, were well-acted and vocally strong.

More Production Spotlights

Rossini’s score, with its intricate mix of harmonies and styles, poses a considerable challenge for those who stand in the orchestra pit. In this production, the maestro Giovanni Di Stefano, who leads the Orchestra Filarmonica Italiana, which boasts of having more than 50 operas, gave a faithful and academic interpretation, without great innovations, but always respectful of Rossini’s text. With precise control of the orchestra, he kept the tempo extremely well and took care of the volume at all times. It is worth highlighting the quartet “Mi manca la voce, mi sento morire” which was anthological thanks to the romantic dynamics of the veteran conductor.

Rossini’s masterful use of the choir requires a high-level interpretation, something that the Modena Lyric Choir fulfilled with flying colors under the direction of its director Giovanni Farina. The choir’s part was so appreciated that something unusual happened: after the beautiful performance of the choral preghiera: “Dal tuo stellato soglio” the public shouted “Bis! Bis! Bis!” From the pit, Di Stefano had no choice but to please the audience and repeat the choral part.

Reviving this extraordinary work today honors Italian operatic tradition in an experience that marries legacy with innovation. When technology and creativity unite, as they did in this flawless co-production, the experience transforms into an act of pure theatrical magic.

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The season opens with Rossini’s “Mosé in Egitto,” which will star Riccardo Zanellato, Dave Monaco, Mariam Battistelli, Toni Nezic, Aida Pascu, Angela Schisano, Andrea Galli, and Matteo Mezzaro. Giovanni Di Stefano conducts the production by Pier Francesco Maestrini.

Performance Dates: Nov. 15 & 17, 2024

Annalisa Stroppa, Caterina Sala, Matteo Falcier, Matteo Guerzè, and Baopeng Wang will headline Bellini’s “I Capuleti e i Montecchi.” Sebastiano Rolli conducts the production by Andrea de Rosa.

Performance Dates: Jan. 24 & 26, 2025

Raffaele Pé, Marie Lys, Davide Giangregorio, Delphine Galou, Filippo Mineccia, Federico Fiorio, Enrico Torre, and Clemente Antonio Daliotti will lead the cast of Händel’s “Giulio Cesare.” Ottavio Dantone conducts the production by Chiara Muti.

Performance Dates: Feb. 14 & 16, 2025

Roberta Mantegna, John Osborn, Juliana Grigoryan, Alessandro Luongo, Roberto Lorenzi, and Aleksej Kulagin star in Puccini’s “La Bohème.” Riccardo Bisatti conducts the new production by Marialuisa Bafunno.

Performance Dates: May 2 & 4, 2025

The post Annalisa Stroppa, Riccardo Zanellato, Juliana Grigoryan & Raffaele Pé Lead Teatri di Reggio Emilia’s 2024-25 Season appeared first on OperaWire.

On Jan. 18, the Teatro dell’Opera di Roma will make history presenting its first production of Janáček’s “Káťa Kabanová.”

The work, which is considered Janáček’s masterpiece, will be conducted by David Robertson and will be directed in a new production by Richard Jones.

The production will star Charles Workman as Boris Grigorijevič, Julian Hubbard as Tichon Kabanov, Stephen Richardson as Savël Prokofjevič Dikoj, and Corinne Winters and Laura Wilde in the title role.

Rounding out the cast will be Susan Bickley (Marfa Kabanová), Sam Furness (Váňa Kudrjaš), Carolyn Sproule (Varvara), Lukáš Zeman (Kuligin), Angela Schisano (Fekluša), and Sara Rocchi (Glaša).

The opening night will be transmitted on Rai Radio3.”Káťa Kabanová” will also be presented on Jan. 21, 23, 25 and 27, 2022

The post Corrine Winters Headlines Teatro dell’Opera di Roma’s First Ever ‘Káťa Kabanová’ appeared first on OperaWire.

When you look at Esposito and Donizetti’s careers, both were born in Bergamo, had bass voices, started their careers with Mozart, and left Bergamo searching for a successful career. These parallels were important in creating a context for what was to come.

Throughout the evening, the show displayed theatrical techniques such as projections, the absence of proper sets and costumes, and brilliant use of the lighting while Esposito sang parts from his repertoire. These were also evidenced while participants of the Bottega Donizetti (a Donizetti workshop for singers organized by the Donizetti Foundation) performed. The show also played with duality and ambiguity while describing Esposito and Donizzeti’s careers. There were several speeches in which it was not clear if they were talking about the bass or the composer. There was even a moment when they compared the cholera and syphilis outbreak in the 19th century which affected Donizetti’s compositions with the COVID pandemic which shut down theaters around the world for months. There was also a moment that connected the two to the great conductor Gianandrea Gavazzeni who was also born in Bergamo.

A Varied Repertoire

The evening also included wisely chosen repertoire that seem to connect well. Esposito began with Dulcamara’s entrance recitative, “Udite, udite o rustici!” from “L’Elisir d’Amore” which he sang a capella and off stage, and continued with fragments from Offenbach’s “Scintille, diamant,” Mozart’s “ Non piú andrai” and “ Pa-pa-pa-pa-pagena.” There were also portions from Boito’s “Son lo spirito che nega,” Berlioz´s “Voici des roses,” Donizetti’s “Messa di Requiem,” and “Anna Bolena.” Throughout these musical excerpts, Esposito displayed a hypnotic stage presence, the flexibility of his velvety dark voice, his fluid phrases, and his ability to sing such a diverse repertoire with diverse colors. His performance culminated with a cold menacing interpretation of Henry VIII from “Anna Bolena” once again showcasing why he has become such a big star.

Throughout the evening sopranos Rosalia Cid and Laura Ulloa, mezzo-sopranos Ester Ferraro and Angela Schisano, tenor Omar Mancini, and baritone Lodovico Filippo Ravizza from the Donizetti workshop interpreted portions from diverse pieces like the Norina and Malatesta duet from “Don Pasquale,” Berlioz’s “Le spectre de la rose,” and several fragments from “Anna Bolena,” including the concertante that concludes the first act.

Among the most memorable moments was the hair raising and extremely moving “Oh! Qual funesto” from “Lucia di Lammermoor.” Here all the artists sang a capella and it sounded like a lamenting requiem. The aforementioned Bolena concentrate was exciting and dramatic while the scene “Ei corregge ogni difetto” from “L’Elisir d’Amore” was cheerful.

Throughout the pieces, the singers were vocally perfect in style, had bright sweet timbres, and their voices blended nicely while singing in an ensemble. It was clear that the main intention was not to showcase the singers as soloists but to create a theatrical show that was more like an accompaniment to their maestri on stage. As a result, it was very difficult to have a general opinion about their voices and left this critic wanting more.

The singers were accompanied by the Donizetti Opera Ensemble formed by pianist Michele D’Ellia, violinists Massimo Spadano and Francesco Salsi, violist Christian Serazzi and cellist Andrea Cauvuoto, and the texts were narrated by Francesco Micheli, director of the festival.

In all, the Donizetti Festival managed to create a meaningful show that linked all the musical numbers offering a true theatrical experience.

The post Donizetti Opera Festival 2021 Review: C’erano una volta due bergamaschi… appeared first on OperaWire.

The new filmed production will be directed by Mario Martone and conducted by Daniele Gatti and will broadcast on Rai 3 and Rai Cultura on April 15, 2021.

Lisette Oropesa will star in the role of Violetta Valéry alongside Saimir Pirgu as Alfredo Germont and Roberto Frontali as Giorgio Germont.

The cast will also be rounded out by Anastasia Boldyreva as Flora, Roberto Accurso as Barone Douphol and  artists from the “Fabbrica” Young Artist Program dell’Opera di Roma including Angela Schisano (Annina), Arturo Espinosa (Marchese D’Obigny), Rodrigo Ortiz (Gastone), and Andrii Ganchuk (Dottor Grenvil).

The new stream comes after the Teatro dell’Opera di Roma presented a concert version of “I Puritani” with Jessica Pratt and “Il Barbiere di Siviglia,” which opened the virtual season.

The post Lisette Oropesa Headlines Teatro dell’Opera di Roma’s ‘La Traviata’ appeared first on OperaWire.

The Teatro dell’Opera di Roma will begin the year with “Schubertiade” on Jan. 5, 2021.

The concert, which will be streamed on the company’s Youtube page at 7 p.m. Italian time will showcase the chorus and young artists under the direction of Roberto Gabbiani. They will all be accompanied by maestro Marco Forgione on the piano.

The program will feature “An die Sonne” D 439, “Ständchen” D 920, “Gebet” op. 139, “Mirjam’s Siegesgesang” D 942, “Deutsche Tänze” op. 33.

Soloists from the chorus will include Marika Spadafino (soprano), Emanuela Luchetti (contralto), Maurizio Scavone (tenor), and Alessandro Fabbri (bass). Meanwhile, young artists will include Angela Schisano (contralto) and Agnieszka Jadwiga Grochala (soprano).

The concert will be streamed for free and audiences can donate to the company’s fundraising campaign “I love Roma Opera aperta.”

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On Dec. 25, the company will stream a Christmas concert featuring Roberto Gabbiani leading the Chrosu and Orchestra dell’Opera di Roma. The priogram will include Vivaldi’s “Credo,” “Magnificat,” and “Gloria.”

On Dec. 31, Roberto Abbado will conduct the New Year’s Eve concert featuring music by Tchaikovsky. The program will include music from “Eugene Onegin, “Romeo and Juliet,” and “The Nutcracker.”

The New Year’s concert will be streamed on Jan. 5 and will feature the chorus of the Teatro dell’Opera di Roma led by Roberto Gabbiani. The concert, entitled “Schubertiade,” will showcase soloists Marika Spadafino, Emanuela Luchetti, Maurizio Scavone, Alessandro Fabbri, Angela Schisano, and Agnieszka Jadwiga Grochala.

The final holiday season concert will be streamed on Jan. 12 entitled “Vi piace Brahms?.” The program led by Roberto Gabbiani will showcase the company’s chorus in Brahms’ Liebeslieder Walzer and Neue Liebeslieder.

The concerts will be streamed on the company’s YouTube for free with a suggested contribution.

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The company will present three concerts on Sept. 11, 18, and 23 in which the Orchestra del Teatro dell’Opera di Roma and singers from the “Fabbrica” Young Artist Program will participate.

On Sept. 11, Gianluca Capuano will conduct a program dedictaed to Gluck with music from “Orfeo ed Euridice” and “Alceste.” The program will also include music by Mozart from “La Clemenza di Tito” and “Idomeneo.”

Fabio Biondi will conduct the Sept. 18 and 23 concerts. The first will be dedicated to Rossini and will feature highlights from “Il barbiere di Siviglia,” “La scala di seta,” “La Cenerentola,” “La cambiale di matrimonio,” “L’Italiana in Algeri,” and “Il signor Bruschino.” The concert on Sept. 23 will showcase music by Bellini from “Il pirata,” “I Capuleti e i Montecchi,” and “Norma” and Donizetti from “L’elisir d’amore,” “La favorita,” “Anna Bolena,” “Don Pasquale.”

Soloists for all three concerts will include Sharon Celani, Agnieszka Jadwiga Grochala, Marianna Mappa, Irene Savignano, Angela Schisano, Alessandro Della Morte, Arturo Espinosa, and Domingo Pellicola.

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