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United Kingdom Bellini, La sonnambula: Soloists, Chorus and Orchestra of Teatro Real / Maurizio Benini (conductor). Teatro Real, Madrid, 18 and 19.12.2022. (JMI)
Production:
Director – Bárbara Lluch
Sets – Christof Hetzer
Costumes – Clara Peluffo
Lighting – Urs Schönebaum
Choreographer – Iratxe Ansa
Chorus director – Andrés Máspero
Cast:
Amina – Nadine Sierra / Jessica Pratt
Elvino – Xabier Anduaga / Francesco Demuro
Lisa – Rocío Pérez / Serena Sáenz
Rodolfo – Roberto Tagliavini / Fernando Radó
Teresa – Monica Bacelli / Gemma Coma-Alabert
Alessio – Isaac Galán
Notary – Gerardo López
The yr 2022 ends at Teatro Real with these performances of La sonnambula which, together with Norma and I puritani, is among the many three most-performed Bellini operas. Despite that, it has been virtually 23 years because it was final seen in Madrid.
Teatro Real’s co-production (with New National Theatre Tokyo, Gran Teatre del Liceu Barcelona and Teatro Massimo Palermo) didn’t persuade me. Its originality, based on statements by Bárbara Lluch, is the truth that the ending of the opera is left open, within the sense of the ultimate union of Amina and Elvino being up within the air as a result of his unhealthy habits. This is just not what the libretto says, and the reality is that Lluch’s interpretation was not clear to me on stage both.
The set may be very easy. There is a tree within the heart of the stage on which two dolls are hung, adopted by a machine representing the Elvino mill. A home is added within the final scene, and Amina’s sleepwalking takes place on the roof. A novelty of the manufacturing is the addition of a gaggle of ten dancers who accompany Amina in her sleepwalking scenes and at first of the 2 acts. The stage route appeared relatively poor: the refrain is static, as if this have been a live performance model, and the soloists are on their very own.
The musical route was beneath the baton of Maurizio Benini, who’s a real assure of success in these bel canto operas, as he has proved so many occasions. His studying was very cautious, with excellent management of the pit and the stage, though the strain clearly dropped at occasions when he slowed down the tempi. The musical model that Maestro Benini supplied is the longest I’ve witnessed. Both the orchestra and the refrain gave robust performances.
With the second solid, one thing modified within the musical route: the size was far more regular and 6 minutes shorter than the day earlier than.
The huge triumph belonged to soprano Nadine Sierra, who was making her debut at Teatro Real and supplied an admirable vocal and stage interpretation of Amina. She is a lyric soprano with a beautiful voice and no issues all through her full vary, singing and expressing herself in a wonderful trend. One can perceive why she has develop into one of many sopranos most in demand within the nice opera homes.
The second Amina was Jessica Pratt, who was undoubtedly the strongest within the second solid, though her efficiency was under that of Nadine Sierra. Pratt is aware of the character completely, having sung the half many occasions, and he or she was significantly good within the aria ‘Ah, non credea mirarti’.
Tenor Xabier Anduaga was Elvino. I feel he has ceased to be a promising younger singer and is now a actuality, and he must be handled and demanded as such. It is sweet to do not forget that this coming spring he’ll make his debut in Paris (I puritani) and on the Metropolitan Opera in New York (L’elisir d’amore). His voice has nice high quality: outstanding quantity, good projection, nice homogeneity and no issues within the high notes, that are very brilliant. There are two elements the place he should enhance in an effort to develop into an excellent higher artist, and they’re magnificence in phrasing and expressiveness, the place he nonetheless leaves one thing to be desired.
The second Elvino was Francesco Demuro, who’s vocally well-suited for the character’s calls for. His singing method is sweet, however the largest drawback is that his voice narrows within the larger notes. I clearly want Xabier Anduaga.
Bass Roberto Tagliavini supplied an excellent interpretation of Count Rodolfo. Although his voice is just not distinctive, he clearly dominates the character in vocal phrases. In the second solid, Count Rodolfo was bass Fernando Radó, whom we’ve seen many occasions in secondary roles at Teatro Real. His efficiency was inadequate for the character, significantly in a gap aria the place he was not applauded.
Soprano Rocío Pérez was Lisa, and her voice appeared to me extra metallic than on different events, particularly within the higher half. She sang the aria in Act II, which is omitted on some events. The second Lisa was soprano Serena Sáenz, who confirmed the very constructive impression she had made on me on different events. Her voice is with out tessitura issues, and he or she sings with gusto.
Monica Bacelli as Teresa did properly. Gemma Coma-Alabert as Teresa was right, as have been each Isaac Galán’s Alessio and Gerardo López’s Notary.
Jose M. Irurzun
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