Needless to say, Bellini’s famously endless melody was embraced by conductors of every stripe. Bonynge may have laid claim to the repertory most lastingly; but its latest take, under bel canto specialist Riccardo Frizza, should not be dismissed lightly. Releasing on EuroArts, it proposes a novel, highly dramatized vision of the Bellinian swan song – supported, to its merit, by an astoundingly capable cast of predominantly American soloists.

Flowing Narrative

Frizza is on the fast side of recorded “Puritans.” It noticeably shows in the crispness of “A te, o cara’s” five minutes and 35 seconds; whereas most competitors clock in at well above six minutes, setting the tone for the aria’s dreaminess from the very first bars. Frizza may be accused of foregoing precious moments of music-turned-poetry. Yet within his overall conception of maintaining a maximum of inter-scenic continuity the toned down levels of leitmotivic sweetness seem rather justifiable.

The opera’s drama is also emphasized by the timbral homogeneity of, especially, Lisette Oropesa and Lawrence Brownlee. There is a peerless steeliness to Oropesa’s very corporeal portrayal of Elvira. Her coloraturas in “son vergin vezzosa” are spectacularly executed, though the overall feel of her interpretation appears to foreshadow the vocal aesthetics of Gilda and Violetta more than to hark back to the hardcore lyricism of Riccardo Muti’s Montserrat Caballé (in 1979; for EMI). Her top notes are rock solid, and dazzlingly incisive, allowing the soprano’s silvery timbre to penetrate even the deepest layers of human psychology. Elvira’s mad scene, for instance, strikes a perpetually sizzling balance between emotional frailty and dramatic introspection; each of her flourishes carries some nuance of expressivity.

A High Calibre Cast

In Lawrence Brownlee she finds a congenial partner, with a similarly metallic ring, and a propensity to stress the heroic impetuousness of the Royalist cavalier, Arturo Talbo. After all, his actions are the driving force behind the unfolding narration. Brownlee’s tone soars imperiously, and his “credeasi, misera” dauntingly boasts an air of nonchalance about the tessitura, and specifically about the aria’s notorious High F. Also, his voice effortlessly melds with the remaining singers among whom Anthony Clark Evans stands out for his glorious phrasing, and imposing gravity. His Riccardo aligns with the Golden Age tradition of Cappuccilli and Matteo Manuguerra. He spans indomitably sustained arks, though the flourishes arguably lack the contour of his great predecessors.

In the ever so popular “Suoni la tromba” Evans triumphantly finishes on the optional High G. His hefty sound is complemented by the velvety depths of the Italian bass Riccardo Zanellato, a most sympathetic incarnation of the benevolent Sir Giorgio Valton. His quasi-paternal instinct effectively transpires in the touching lines of “Cinta di fiori,” highlighted by Zanellato’s ability to vary dynamics and even descend into an unmediated parlato of sorts.

Naturally, the opera’s success rests on the choir’s capacity to be an integral part of the action. The MDR-Rundfunkchor, far from being static, becomes a dramatic persona of its own: Led by Frizza’s uncompromising thrust forward, it picks up every shade of expression, from grieving to the celebratory, and even the militant. Combined with its other assets, it makes Riccardo Frizza’s “Puritani” an excitingly competitive addition to a tearfully neglected segment of discographic history. It is doubtlessly one of the best operatic releases in all of 2024.

The post CD Review: EuroArts’s ‘I Puritani’ appeared first on OperaWire.

The festival is set to present Pop The Opera.”

Performance Date: June 13, 2025

Jessica Pratt, Aya Wakizono, Dmitry Korchak, and Inho Jeong lead Mozart’s Requiem with Diego Ceretta conducting the Orchestre Philharmonique de Monte-Carlo.

Performance Date: June 28, 2025

Jader Bignamini conducts Verdi’s “Il Trovatore” with Anna Netrebko, Marie-Nicole Lemieux, Yusif Eyvazov, Aleksei Isaev, and Riccardo Zanellato.

Performance Date: July 6, 2025

Chloé Chaume, Juliette Tacchino, Kaëlig Boché, Julien Henric, and Kira Parfeevets lead an opera recital.

Performance Date: July 15, 2025

Evan Rogister leads an opera concert, “Grande Scene Emergente” with Amina Edris, Floriane Hasler, and Julien Henric.

Performance Date: July 17, 2025

Daniel Rustioni conducts Verdi’s “La Forza del Destino” with Brian Jagde, Anna Pirozzi, Ekaterina Semenchuk, Ariun Ganbaatar, Michele Pertusi, and Ambrogio Maestri.

Performance Date: July 20, 2025

Kazuki Yamada conducts Paul McCartney’s Liverpool Oratorio with the Orchestre Philharmonique de Monte-Carlo.

Performance Date: July 25, 2025

The post Anna Netrebko, Anna Pirozzi, Brian Jagde, & Jessica Pratt Lead Chorégies D’Orange’s 2025 Season appeared first on OperaWire.

The company said, “The Teatro del Maggio informs the kind audience that the production of Vincenzo Bellini’s ‘Norma,’ scheduled for next March during the 2025 Season, will no longer be the announced revival of the play directed by Moshe Leisier and Patrice Caurier for the 2013 Salzburg Festival, but rather a new Maggio Musicale Fiorentino production with direction by Andrea De Rosa, sets by Daniele Spanò, costumes by Gianluca Sbicca and light design by Pasquale Mari.” De Rosa has directed at the Teatro Sociale, Royal Opera Muscat, Teatro Ponchielli, and Teatro Fraschini di Pavia.

“Norma” is set to star Jessica Pratt in the title role, Maria Laura Iacobellis as Adalgisa, Mert Süngü as Pollione, and Riccardo Zanellato as Oroveso. Michele Spotti conducts.

“Norma” opens on March 9 through 16, 2025.

The post Maggio Musicale Fiorentino Announces Production Change for ‘Norma’ appeared first on OperaWire.

The 25-year-old Italian mezzo-soprano Emma Alessi Innocenti is still at the stage in her career in which she is attempting to establish herself as a known singer within the industry. Of course, at such a young age, she has had relatively few opportunities to perform in fully staged operas. But by sheer chance, OperaWire has reviewed a number of them and, in each case, was very impressed by her performances.

The first occasion was at Vicenza in Lirica’s production of Vivaldi’s “L’Olimpiade” in 2020, when Innocenti was a mere 21-years-old, yet it was her interpretation of Megacle that made her standout among the relatively inexperienced cast, with an expressive and intense performance. It was a more mature Innocenti that appeared in Händel’s cantata “Aci, Galatea e Polifemo” in 2023, in which she was cast in the role of Galatea, with OperaWire drawing attention to “the detail and subtlety with which she is able to furnish the vocal line” and describing the quality of expression as “breathtaking”.

As OperaWire was reviewing Luciano Chailly’s opera, “Procedura Penale” in Spoleto this summer, in which Innocenti was appearing, it seemed a good opportunity to find out more about this up-and-coming young singer.

OperaWire: What made you want to become an opera singer?

Emma Alessi Innocenti: What I find most interesting about singing, is that it gives you the opportunity to be someone else, someone completely different from yourself. This is what I really love about theatre, but I also love singing, so opera is the perfect combination. I believe that the act of singing is one of the most beautiful things a human being is able to do.

OW: What was your pathway into opera?

EAI: I was fascinated by theatre and singing from a young age. However, I didn’t come from a musical family, which had both positive and negative consequences. On the one hand, there was no pressure from my family, but I am very aware that coming from a musical family can have many advantages, even down to choosing the right place to study. I was fortunate that I came from a very supportive family, and they helped me a lot in making the right decisions.

I was born and still live in Florence. As I enjoyed singing, my parents enrolled me in a children’s choir when I was five or six-years-old. I was very lucky because the school provided the children’s choir for the Maggio Musicale, where I sang in “Carmen”, “Tosca” and other operas. It was a really beautiful experience because I had the opportunity to enjoy the theater and appear on stage at an early age, but with the innocence of a child.

I went to a high school that specialized in music, where I studied piano, which has been really useful for my musical education. When I played the piano, I used to get nervous, but when I’m singing, I don’t get nervous at all, even when I am under considerable pressure. I have always found it natural and comfortable, maybe it’s because of the experience I gained at a very young age.

After high school, I had singing lessons at the ‘Luigi Cherubini’ Conservatory in Florence, where I graduated in 2022. Then I spent a year doing concerts, competitions and small roles before I started attending an advanced course in voice at the Santa Cecilia Academy in Rome with Sara Mingardo. She is an excellent teacher. She is very encouraging and very precise, but can be severe; however, it is in a nice way as she wants you to become the best version of yourself. She’s always very positive.

OW: How would you describe your voice?

EAI: I like to think I have a very expressive voice that I can use to interpret the music. In my first years of studying, I used to have a lot of difficulty with my high notes, but I worked a lot on them and now it’s not a problem. My vocal range is quite wide; I can reach from a low G to high C fairly easily.

I think I have an agile voice, and although I sing passages of coloratura, I have to work on them; they’re not always easy, especially if I have not sung any coloratura for a while.

I don’t have a particularly big voice, but for my repertoire, which is mainly the baroque, Mozart and contemporary music, it is suitable. But it is probably too small for the late romantic repertoire. I will never sing Verdi, that is for sure.

OW: You are currently taking part in a training program offered by the Teatro Lirico Sperimentale in Spoleto. What does this involve, and how useful have you found it?

EAI: The Teatro Lirico Sperimentale of Spoleto provides one of the most prestigious advanced training courses for young opera singers in Italy. Many great Italian artists have started their careers there, such as Franco Corelli, Giuseppe Di Stefano, Renato Bruson, Anna Moffo, Anita Cerquetti, Leo Nucci, Mariella Devia, Maria Agresta, Eleonora Buratto, Daniela Barcellona, Sonia Ganassi, Roberto De Candia, Bruno De Simone and Riccardo Zanellato. I earned a place on the course after winning first prize in the 2024 “A. Belli” Competition.

All the winners are invited to move to Spoleto for five months from the end of April until October during a two-year period. In my case, this was for the years 2024 and 2025. So far, I have found the experience really useful for me. It provides a perfect balance between musical education and professional activity. During the first three months, I attended several masterclasses with great artists and teachers, such as Marina Comparato, Carmela Remigio, Nicola Ulivieri, Marco Boemi and Raffaele Cortesi. Moreover, we had daily lessons with piano accompanists, studying our repertoire and opera roles for the following season. The last two months were dedicated solely to the opera productions and concerts planned by the Sperimentale. I am playing the roles of Paola in the modern opera “Procedura penale” by L. Chailly and Eurilla in the baroque intermezzo “Eurilla e Beltramme” by D. Sarro.

It has been a very enriching experience; I have learned so much!

OW: What is the story of “Procedura Penale”, and what role are you playing?

EAI: A group of friends meet for an afternoon tea in the home of the Countess Mauritia Delormes. They all appear to be very close. Suddenly, however, the situation changes, and they accuse the countess of committing a murder. It is not a joke; they mean it, and she is forced to defend herself. The dining room becomes a courtroom. In the end, everything returns to normal, and they continue drinking their tea and eating their cake.

My character’s name is Paola. She is one of the countess’ friends.

OW: What challenges did you experience in bringing Paola to the stage?

EAI: My character is cruel, but she doesn’t appear to be on the surface. This is difficult to portray because even when she is drinking tea and chatting with her friends at the beginning of the opera, she is cruel, and I have to be able to show this while appearing to be friendly. I have to show that she is a false person and her relationship as a friend is false.

It is not a particularly difficult role to sing, but it is a modern work, so you have to keep an eye on rhythm and intonation. The role was originally written for contralto, but I have to say I feel comfortable singing the role. One reason is that the orchestra below the singing parts is not heavy, and so I don’t feel overwhelmed by it.

OW: How do you assess your performance?

EAI: I think I did a good job, especially in terms of character rendering. The role of Paola is not very demanding from a vocal perspective. What was hard for me was to convey to the audience the subtle cruelty of her character, especially as it is set against comedy episodes of the Theatre of the Absurd set-up.

The stage director, Bongiovanni, did a great job. He helped us a lot, insisting that all the singers paid attention to every single gesture and facial expression. Paola is also an overweight woman, so it has been interesting for me to deal with different body shapes, in which I have to step into someone else’s body!

OW: What have been the biggest challenges in your career so far?

EAI: I would say discovering my own boundaries, my own limitations, and then getting other people to understand and accept them.

Also, I know my repertoire is not as popular as say Puccini and Verdi, especially in Italy, so it is difficult for singers with voices like mine, such to find opportunities to perform.

OW: What are your goals for the next few years?

EAI: Obviously, to have more opportunities to sing in operas. I want to become established so that I can live and work with singing. Although I am not particularly interested in competitions, maybe over the next couple of years I will take part in more, which will help me in becoming better known if I’m successful in them. I think that this will be the best method for establishing myself as the theaters don’t seem to provide opportunities to unknown singers.

OW: If this interview were taking place 10 years in the future, what would you hope you would be saying about your career?

EAI: Maybe it sounds banal, but I would like to be saying that I have been appearing in beautiful opera productions with great conductors and stage directors at the best opera houses and festivals in Europe and around the world, such as the Salzburg Festival and Early Music Festival in Innsbruck.

The post Q & A: Mezzo-Soprano Emma Alessi Innocenti Talks About The Teatro Sperimentale & Her Role In ‘Procedura Penale’ appeared first on OperaWire.

The Maggio Musicale Fiorentino has announced its 2025 season.

Stefano Ranzani conducts a production of Verdi’s “Rigoletto” by Davide Livermore. Celso Albelo, Daniel Luis de Vicente, Leon Kim, Olga Peretyatko, Alessio Cacciamani, and Eleonora Filipponi star.

Performance Dates: Feb. 16-23, 2025

Michele Spotti conducts Bellini’s “Norma” in a production by Moshe Leisier and Patrice Caurier. Jessica Pratt, Maria Laura Iacobellis, Mert Süngü, and Riccardo Zanellato star.

Performance Dates: March 9-16, 2025

The post Jessica Pratt, Olga Peretyatko, Luca Salsi, Pretty Yende, Javier Camarena & Nombulelo Yende Lead Maggio Musicale FIorentino’s 2025 Season appeared first on OperaWire.

The season kicks off with a performance of Rossini’s “Stabat Mater” starring Claudia Pavone, Ekaterina Gubanova, Bryan Lopez Gonzalez, and Riccardo Zanellato. Benedikt Sauer conducts the Orchestra dei Colli Morenici.

Performance Date: Sept. 1, 2024

Filomenta Fittipaldi and Manuel Epis are the soloists in “W Puccini.” Alessandro Marini accompanies them at the piano.

Performance Date: Sept. 2, 2024

Laura Polverelli and Joseph Dahdah are the soloists in “Das Lied von der Erde.” Marco Tezza conducts the Mahler work.

Performance Date: Sept. 7, 2024

Francesco Feo’s “Rosicca e Morano” gets the spotlight in a production by Ilaria Sainato. Maria Elena Pepi and Said Gobechiya star as the eponymous character.”

Performance Date: Sept. 8, 2024

Magdalena Urbanowicz headlines “La Cenerentola” alongside Luis Magallanes, Carlo Sgura, Gianpiero Delle Grazie, Silvia Procellini, Caterina Dellaere, and Huigang Lui. Bepi Morassi directs and Alessandro Vitello conducts.

The opera will also be presented as part of the “Viaggio a Vicenza” showcase on Sept. 12 with the same cast and pianist Fausto di Benedetto. Daniella Barcellona hosts that event.

Performance Date: Sept. 14 & 15, 2024

The post Vicenza in Lirica Festival Unveils 2024 Slate appeared first on OperaWire.

Lisette Oropesa is recording Donizetti’s “Lucia di Lammermoor.”

The Soprano took to social media to announce the upcoming album and noted that the opera will be recorded in Sicily. The cast will include Stefan Pop as Edgardo, Mattia Olivieri as Enrico, and  Riccardo Zanellato as Raimondo. Maestro Fabrizio Maria Carminati will conduct. 

Oropesa is known for her Lucia interpretation, obtaining rave reviews all over the world. Critics have said, “Lisette Oropesa gave a poignant, overwhelming interpretation of Lucia. Her detailed acting supported a soprano which seems created to sing bel canto: confident coloratura, silvery high notes, beautiful pianissimi, perfect trills.”

The soprano has performed the role at the Teatro alla Scala, Wiener Staatsoper, Teatro Real de Madrid, Salzburg Festival, and Opernhaus Zurich.

The post Lisette Oropesa to Record ‘Lucia di Lammermoor’ appeared first on OperaWire.

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 October 14th, 2011, the Royal Opera House Muscat (ROHM) opened its doors for its inaugural season with a production of Puccini’s “Turandot,” with the aim of establishing itself as a “centre of excellence in global cultural engagement.” It is a noble and ambitious aim, for sure, but for a country without a tradition of opera, it is certainly not going to be an easy task. How, for example, will it be able to educate the population about the operatic canon, its performance codes and traditions, and the art of opera singing by serving up only the popular operas such as “Carmen,” “La Traviata” and “Le Nozze di Figaro” while at the same time being seen as a leading cultural establishment? Move too far away from such titles, and the risk is that the local population will become alienated, leaving the opera house as a centre for tourists and expats from Europe and America.

The Director General and Artistic Director of ROHM, Umberto Fanni, however, is clearly aware of such possibilities and possesses a clear vision on how to fashion a way forward. Each season, he introduces one or two carefully chosen lesser-known works, such as Britten’s “A Midsummer Night’s Dream,” Rossini’s “La Scala di Seta” and Borodin’s “Prince Igor,” in order to broaden the audience’s experience and create a more balanced and interesting program. It is, nevertheless, the usual favorites that form the company’s mainstay, and he is keen to bring in the best directors, singers and conductors to ensure that performances are of high quality. This, indeed, was the case with the recent revival of its production of “La Bohème,” which was originally premiered in 2019.

Grinda Plays Down the Sentimental

Its director, Jean-Louis Grinda, created a sensitive reading that did its best to eschew the sentimental overtones that one often finds in many productions of Puccini operas. For sure, there was plenty of bon homie amongst the bohemians; they treated the privations of poverty with a casual, devil-may-care attitude, and they rolled with the freedom of having few responsibilities, dancing and singing the night away. However, his development of the characters played up other sides of their natures so that they became layered personalities, which moved beyond the sentimental. In particular, his Mimì was no passive shrinking violet; she actively sought opportunities and was therefore a less sympathetic character than is often portrayed, which successfully removed the overly sweet taste that the opera can often leave. Similarly, Marcello’s assertive character was given a slightly unpleasant, aggressive edge, which added a realism to the relationships between the bohemians that one rarely finds, and the suggestion that Marcello and Mimì were flirting with each other at Café Momus gave greater substance to Rodolfo’s jealousy.

The sets, designed by Rudy Sabounghi, were traditional in nature, depicting scenes that could only refer to Paris in the late 19th and early 20th centuries. The bohemians’ garret, the scene of the first and forth acts, was an impoverished, airy attic space with large windows that opened onto a Parisian skyline, which successfully drew on the stereotype to define bohemians’ economic, social and artistic conditions. Act two, which takes place in front of the Café Momus, was a riotous setting of color, movement and merriment and captured the atmosphere of Paris by night with its old-fashioned neon signs advertising cabarets and music halls. The scenery for Act three, set at a toll gate, conjured up a nondescript, fairly bleak, rundown area with a bar to one side. It felt cold, lonely and inhospitable and brilliantly supported the drama as Rodolfo vainly tries to justify his treatment of Mimì, whom we discover is dying of tuberculosis.

The costumes, designed by David Belugou, were in line with expectations for Paris during the period. Generally dull and uninspiring, they reflected the economic position of the characters. The one exception was Musetta, who wore an interesting array of colorful, fashionable dresses, hinting at the possible source of her income.

Together, costumes and sets successfully created a vision of the free-spirited world inhabited by the artists, which Grinda used successfully to support the narrative, develop atmosphere and intensify and relax the dramatic tensions. He also added small, interesting details. Between acts three and four, for example, he introduced a short video of an out-of-focus street in which we watched the passing of the seasons to a recording of music from the opera on a piano. It was a nice touch that covered for the awkward set change. It also emphasized the passing of time; spring had now come and gone, and Mimì had, therefore, now left Rodolfo.

Sini Successfully Captures the Drama & Beauty of the Score

The musical side of the production was under the direction of Leonardo Sini, who elicited a very impressive reading from the Orchestra Filarmonica Italiana. Driving the music forward with clarity and rhythmic energy, he ensured each act was sensitively developed to maintain a cohesive arc while successfully shaping it to highlight the significant dramatic points without compromising the warmth of its rich melodic fabric. He successfully managed the musical tensions, which were synchronized beautifully to the on-stage drama, and Puccini’s signature crescendi were given the necessary space to bloom in order to maximize their emotional impact. His overall attention to detail and the dramatic effect ensured the performance was both engrossing and aesthetically pleasing.

A Standout Performance from Sicilia

Although the standard of singing was strong throughout, it was the two female singers that shone most brightly. Soprano Mariangela Sicilia, essaying the role of Mimi, produced a nuanced portrait that played down any ideas of sweetness and passivity and helped raise her character above the sentimental. She was energetic and strong-willed. Her initial meeting with Rodolfo came across as opportunistic rather than fortuitous, and her subsequent flirtatious relationship with Marcello did little to change. By highlighting this side of her character, Mimi came across as more rounded and, in many ways, more sympathetic, one that was not coated in a sugary veneer, which can often happen.

It was a reading that she also brought to her vocal interpretation, in which she downplayed the overly sweet-sounding lines without, however, compromising their beauty. In her meeting with Rodolfo in Act three, she brilliantly captured competing aspects of her personality, inflecting her lines with emotional nuance as she struggles with her tuberculosis and complex feelings for Rodolfo, while in her final scene, her singing was so poignant and riven with expressions of pain and frailty that her death could not but have failed to leave anyone watching without feelings of deep sadness. The contrast with Act one, in which her voice positively sparkled, brilliantly magnified the effect of Mimì’s decline.

More Cast Highlights

Liparit Avetisyan is a tenor with a very attractive, warm timbre, which gives his singing an almost naturally romantic gloss, which he can easily transform into passionate intensity. He is, therefore, almost ready-made for the role of Rodolfo, and did indeed produce an effective performance, exemplified by his rendition of the aria “Che gelida manina,” which neatly caught his character’s romantic intentions. It is also a sweet voice, which can add to its romantic quality, however if not carefully managed, can leave an impression of superficiality or sentimentality, and there was an element of this in his interpretation. At times, everything was a little too easy and too smooth to fully convince. This was most noticeable in the duets with Sicilia, whose expressivity and nuanced characterization exposed Avetisyan’s less refined approach. Albeit to a lesser degree, the same could also be said of his acting, which was overly reliant on stock gestures. Overall, however, it was a good performance, but one based more on vocal beauty than characterization and dramatic impact.

Mezzo-soprano Hasmik Torosyan was a convincingly assertive, feisty yet fun-loving Musetta. Such was her success in playing up the role of a streetwise woman, hardened to life’s adversities, who delighted in taking advantage of gullible people, that the contrast she displayed towards Mimi as she lay dying came across as a genuinely powerful expression of grief, brilliantly uncovering the deep humanity that exists behind her façade. It was the quality of Torosyan’s singing, however, that really impressed. She possesses a fine voice with wonderful coloring and flexibility and an excellent technique, which allowed her to capture the full sweep of the melodic line, brilliantly exemplified in the showpiece aria “Quando m’en vo.” Standing on top of a table to entertain the crowd outside the Café Momus, she confidently embraced the famous melody, imbuing it with a seductive beauty and subtle inflections, and captured Musetta’s spirited nature as she climbed seamlessly into her upper register and allowed her voice to bloom with an air of unrestrained freedom. It was no wonder Marcello was unable to resist her after such a performance.

Marcello was given a strongly defined character by baritone Semyon Antakov, so much so that when on stage, he tended to dominate, although not always to the benefit of the drama. Nevertheless, his presence provided the group of bohemians with a greater sense of camaraderie by promoting its cohesion and hidden tensions. He was assertive, energetic and aggressive, which was reflected in his singing. He possesses a resonant, colorful voice, which he used successfully to deliver his lines with conviction and clarity.

Bass Riccardo Zanellato produced an attractive and sympathetic portrait of Colline, who came across as playful, caring and compassionate. His warm timbre, carefully moulded phrasing and clarity of expression created an excellent impression.

The young baritone Daniele Terenzi, who essayed the role of Schaunard, made the most of his opportunity with a pleasing performance that allowed him to show off his vocal qualities. His singing was confident, resonant, clear and articulate, and his presentation of his character was neatly defined.

Bass-baritone Matteo Peirone played the roles of Benoit, the landlord, and Alcindoro, Musetta’s escort. He gave excellent performances in both parts, in which he played up their comedy potential to the maximum. It was great to watch, as after being taken advantage of by Musetta, the old dandy just moved on to find another girl and threw a handful of money into the crowd. He knew the game!

The Symphonic Choir of Parma and Emilia Romagna produced an enthusiastic, energetic and colorful performance as carnival performers, onlookers and army in Act two.

Personally, I am always a bit wary of Puccini. His operas, including “La Bohème,” have the potential to step over the line that turns a great work of art into a sentimental second-rater. In fact, I tend to shy away from attending performances of his operas. This presentation by the ROHM, however, has reignited my interest. There was a sense of realism, of the brutality of life and of the deep, deep pain it can cause. It stepped away from the emotional froth and cut directly to the suffering. The dancing, the bravado and the cavorting of the bohemians were just the veneer that we all indulge in to hide from the pain of our existence. It did not cross the line and, therefore, never fell into the emotional slush of a Hollywood movie.

The post Royal Opera House Muscat 2023-24 Review: La Bohème appeared first on OperaWire.

“Manon”

Renato Palumbo conducts Puccini’s “Manon Lescaut” with Arnaud Bernard directing. The cast will include Erika Grimaldi, Dinara Alieva, Andeka Gorrotxategui, Carlo Ventre, Carlo Lepore, and Alessandro Luongo.

Performance Dates: Oct. 1-26, 2024

Massenet’s “Manon” wil star Ekaterina Bakanova, Martina Russomanno, Bjorn Burger Maxim Lisiin, Atalla Ayan, Andrei Danilov, Roberto Scandiuzzi, Ugo Rabec, and Thomas Morris. Evelino Pidò conducts the production by Arnaud Bernard.

Performance Dates: Oct. 5-29, 2024

Rocio Perez and Marie-Eve Munger headline Auber’s “Manon Lescaut” with Armando Noguera, Gurgen Buveyan, Francesco Salvadori, Marco Ciaponi, and Sebastian Gueze.

Performance Dates: Oct. 17-27, 2024

Season

Vito Priante, Jarrett Ott, Monica Conesa, Kirsten MacKinnon, Giorgio Caoduro, Christian Federici, Giulia Semenzato, Hasmik Torosyan, Josè Maria Lo Monaco, and Siphokazi Molteno will star in Mozart’s “Le Nozze di Figaro.” Leonardo Sini conducts and Emilio Sagi directs.

Performance Dates: Nov. 23-Dec. 1, 2024

Donizetti’s “L’Elsir d’Amore” will feature Federica Guida, Enkeleda Kamani, René Barbera, Valerio Borgioni, Paolo Bordogna, Simone Alberghini, Davide Luciano, and Lodovico Filippo Ravizza. Fabrizio Maria Carminati conducts the production by Daniele Menghini.

Performance Dates: Jan. 28-Feb. 1, 2025

George Petean and Devid Cecconi lead Verdi’s “Rigoletto” alongside Giuliana Gianfaldoni, Daniela Cappiello, Piero Pretti, Oreste Cosimo, Goderdzi Janelidze, Luca Tittoto, Martina Belli, and Veta Pilipenko. Nicola Luisotti conducts the production by Leo Muscato.

Performance Dates: Feb. 28-March 11, 2025

Zarina Abaeva, Mikhail Pirogov, Jennifer Larmore, Elchin Azizov, Vladimir Stoyanov, and Deniz Uzun will be featured in Tchaikovsky’s “The Queen of Spades.” Valentin Uryupin conducts the Richard Jones production.

Performance Dates: April 3-16, 2025

John Osborn and Sara Blanch lead Thomas’ “Hamlet” with Riccardo Zanellato, Nicolò Donini, André Courville, Julien Henric, Marco Mimica, and Clémentine Margaine. Jérémie Rhorer conducts the production by Jacopo Spirei.

Performance Dates: May 15-27, 2025

Gregory Kunde and Angelo Villari headline Giordano’s “Andrea Chenier.” The cast includes Franco Vassallo, Ernesto Petti, Maria Agresta, Yolanda Auyanet, and Alessandra di Giorgio. Andrea Battistoni conducts the production by Giancarlo del Monaco.

Performance Dates: June 18-29, 2025

The post Erika Grimaldi, John Osborn, Sara Blanch & Gregory Kunde Lead Teatro Regio di Torino’s 2024-25 Season appeared first on OperaWire.