Argentina Donizetti, Anna Bolena (live performance model): Orchestra and Chorus of Teatro Colón / Iñaki Encina (conductor). Teatro Colón, Buenos Aires. 27.6.2023. (JSJ)
Production:
Direction – Marina Mora
Visual conception – Gabriel Caputo
Lighting – Rubén Conde
Costumes – Mercedes Nastri
Chorus – Miguel Martínez
Cast:
Anna Bolena – Olga Peretyatko
Enrico VIII – Alex Esposito
Giovanna Seymour – Daniela Barcellona
Lord Percy – Xabier Anduaga
Smeton – Florencia Machado
Lord Rochefort – Cristian De Marco
Hervey – Santiago Vidal
Anna Bolena is arguably the most effective identified of Donizetti’s three ‘Tudor Queens’, undoubtedly partially as a result of larger fascination with the historic story of the fated second spouse of King Henry VIII than that of Mary Stuart or of Elizabeth I for whom Robert Devereux was a favorite and maybe a lover.
The single manufacturing within the Teatro Colón in contrast with none for both of the opposite two works (I’m conscious of no less than one manufacturing of Roberto Devereux exterior the Colón) would appear to help this small quantity statistic view – and because it was given again in 1970 it was excessive time for a revival.
But this, for causes unspecified, was introduced as a live performance model as a substitute of being staged. In actuality it was barely extra, with restricted performing and coming collectively of the singers at acceptable moments.
The setting was a sequence of platforms positioned in a semi-circle from which – or close by – the singers carried out, approaching or going off as obligatory, and with the refrain within the shadows behind, solely lit within the choruses. Dress was all black, and the lighting likewise was appropriately as a tragedy predominantly of darker hues.
As such the sense of the drama was created, despite the fact that not all that was sung and another particulars have been acted out – similar to in Act I when Anna’s portrait was grabbed by Enrico from Smeton’s pocket reasonably than it falling out when opening his tunic.
Russian soprano Olga Peretyatko led a wonderful forged as Anna and revealed coloratura of magnificence and refinement. She was at her finest with the delicacy of her voice within the extra reflective passages reasonably than in probably the most dramatic moments.
Conversely Italian bass-baritone Alex Esposito introduced a virile picture of Enrico – considerably completely different from the character we all know from portraits – and was appropriately dramatic and menacing.
Daniela Barcellona introduced ardour and opulence of tone to the function of Giovanna (Joan Seymour) whereas the younger Basque tenor Xabier Anduaga was a refined Lord Percy, Anna’s first suitor.
Mezzo-soprano Florencia Machado, one of many two locals within the forged, because the web page Smeton, continues to amaze together with her readability and evenness of line, and totally justifying the foresight of her award because the winner of the Teatro Colón’s worldwide younger singers competitors a decade in the past.
Completing the forged with their strong performances have been bass Cristian de Marco as Anna’s brother Lord Rochefort and Uruguayan tenor Santiago Vidal as Hervey.
Iñaki Encina led the orchestra in an accurate studying of the rating and the choral interventions have been properly sung.
If there was a spotlight it needed to be Anna’s mad scene, with the viewers spellbound in nearly full silence all through Olga Peretyatko’s convincing portrayal – each visually and vocally – of Anna’s last distracted breakdown earlier than going to her loss of life.
Jonathan Spencer Jones