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Posts Tagged ‘Lucy Crowe’

Thanks to James Levine’s invaluable advocacy, the Metropolitan Opera House has probably the world record in of performances of La Clemenza di Tito, the culmination of the opera seria genre, Mozart’s black pearl where tradition is reviewed and new perspective are hinted at. This is reason enough to find interest in every revival of this work in the Lincoln Center’s opera house, where casts of indisputable glamor have been assembled for 30 years. “Revival” is no random word here – since the 1984 house première, Jean-Pierre Ponnelle’s production has been on duty. I myself saw it in 2008 and wondered then if it would still be around in the near future. It has been a positive surprise to found it interestingly revamped five years later.

Spielleiter Peter McClintock deserves credit for reading the libretto anew and bring to the fore so many interesting aspects in the text that made characters far more three-dimensional than in the past. Even for someone who knows this almost by heart, I could find food for thought here. Two examples:

a) I have always thought that Non più di fiori is some sort of twisted mad scene. Normally, a character would fantasize in such a moment about a happy ending that is not going to happen;  Vitellia is, however, no victim – so she fantasizes about the tragic ending that is not going to happen, the final section of her rondo some kind of acute episode of infantilization, in which she lulls herself into being passive after being dangerously active. Here, Vitellia is a spoiled brat from moment one and her childish narcissism makes the volte-face a logical conclusion – as she said, she made it all for love (for Tito), the revenge plot and also its final confession. A brilliant piece of casting made it easy to see all that.

b) Seductive as Vitellia might be, it had never struck me before today that nobody would be talked into a plot like that if he had not fantasized about it himself before – Vitellia being the liberating externalization of his suppressed desire of dragging Tito’s moral excellence to the mud. Here Tito appears to be carefree and content in the company of Sesto and Annio, who seem to be ill-at-ease near the Emperor, rather indulging him than enjoying being there. When Tito say things like “By marrying your sister, I’ll shorten the infinite gap set by the gods between you and me”, you could almost hear the “what a jerk…” in Sesto’s thoughts. The surprise here is that, when these two friends finally can express their feelings without pretty words, this is the moment when they discover how important they are to each other, an especially sad discover for Tito, whose main longing had always been to find someone to whom he could talk “at eye level”. Here casting was not very helpful to show all this, but the director’s hand could be felt at least.

By brilliant casting for Vitellia I meant Barbara Frittoli. Her voice has seen more exuberant days, especially when things get high or fast, and she has to cheat in some perilous moments, but the tonal quality is inimitably warm and full, she handles the low tessitura famously and everything has some sort of glamor. What makes her so special, though, is her ability to make Vitellia some sort of classical Scarlett O’Hara (or Rossella O'[H]ara, as she is called in Italy). The contrast to Elina Garanca’s Sesto is telling – the Latvian mezzo sings with immaculate poise, technique and sense of style and is often sensitive too (a beautiful Deh per questo), but doesn’t really inhabit the text – the important accompagnato Oh dei, che smania è questa being the less effective moment of her performance. In his first aria, Giuseppe Filianoti seemed to promise a bumpy evening, but he would eventually settle for something less awkward. His is an interesting voice for the role, but having to sing Mozartian lines takes him to the limits of his technique – the results being more accomplished than elegant, musically illuminating or just pleasant to the ears. If you want a forceful, bright sound, Gregory Kunde in the broadcast from Aix (2011) offered something far more polished. But there is a very positive side to Filianoti’s performance – his crystal-clear diction, his intent of making sense of his recitatives and some emotional urgency in his scenes with Sesto.

I have seen Kate Lindsey only once in a small role, but her Annio made me feel like hearing more. Although the voice itself lacks some personality, she makes the most of it in true Mozartian phrasing – and she is a good actress too. Lucy Crowe, a creamy-toned Servilia, lacked nuance in the exquisite act I duettino, but deserves the highest praise for her haunting performance of S’altro che lagrime, probably the most moving I have ever heard since Colin Davis’s recording with Lucia Popp (my six or seven readers will probably understand that this comparison is the top-level compliment in this blog).

Harry Bickett was the conductor I happened to see in 2008. Then I wrote that “expression and grandeur were achieved at the expense of clarity”. Not in this broadcast – the Met orchestra’s fullt-toned flexibility that evening is something to marvel. The conductor showed also deepened understand of this score’s profile, creating the atmosphere to each scene with precise accents and sense of threatre. Although the house chorus cannot compete with the level of accuracy of a Monteverdi Choir, their hushed Ah, grazie si rendano was a beautiful moment at any rate.

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David McVicar’s 2002 production of Verdi’s Rigoletto was premiered and has been revived with starred casts, such as the one featured on DVD. The staging is about a revolving set that suggests rather the Bronx than Mantua, while failing to portray the Duke’s palace, Rigoletto’s house and Sparafucile’s lair. It works better framed by the cameras. It has called some attention by the somewhat graphic orgy in the opening scene, but the only shocking thing about it is the way it interferes with synchrony in ensembles.

This is my first time in an amphitheatre seat; I cannot tell therefore if what I heard was only the effect of the hall’s acoustics: voices sounded unnaturally loud as if they were miked and the orchestra seemed brassy, recessed and dry. The fact that John Eliot Gardiner was the conductor was the main source of interest this evening to me, but under these circumstances it is hard to say much. I had the impression that the conductor wanted a lean orchestral sound, clear articulation and propulsive, agile tempi. If this was indeed the case, it proved to be an a priori approach: the house orchestra is no Vienna Philharmonic and failed to fill the auditorium and his leading soprano and tenor struggled with the maestro’s fondness for a tempo phrasing. Lucy Crowe at least has an excuse – this is her first Gilda and a replacement for Ekaterina Siurina.

I confess that I was at first disappointed to learn that I would miss the lovely Russian soprano, but retrospectively this proved to be quite rewarding. Crowe does not have an Italianate voice, lacking brightness above all; however, her lyric soprano is developing into something really interesting – the tone is rich, the low register is solid, the volume is quite generous for her Fach and she can yet trill and produce high mezza voce. Sometimes one feels an irregular support, what brings about grey-toned patches, unfocused notes and some tension. One tends to forget all this, given her musicianship, good taste and commitment. That said, what I could “read” in her singing this evening is an eventual shift into a Countess/Fiordiligi and maybe, who knows?, Agathe/Arabella in a couple of years, if she does not get carried away with the prospects and burn herself out before that.

I must confess as well that I was hoping to see Francesco Meli as the Duke, since Vittorio Grigolo’s Alfredo in the Deutsche Oper Traviata last year gave me mixed feelings. Well, I am glad I could see him in a role – and I don’t mean this as a compliment –  closer to his personality. Although this tenor gave many examples of his skill this evening – mezza voce, tone coloring, clear divisions, firm high notes – these things seemed less related to the demands prescribed by Verdi than by his whimsical intent of making an impression. The fact is that he is unacceptably free with note values, making Gardiner’s life very difficult and putting his debuting Gilda in a very dangerous situation in their duet, when nobody got an entrance rightly.

I had never heard the name of Greek baritone Dimitri Platanias before, but I will hardly forget it now. It is a very powerful voice, hard-edged in a Gobbi-esque manner, the kind that seems almost even more exciting when on its limits. Although he is not an electrifying stage presence, his singing is always gripping in its raw energy and vivid declaratory phrasing. It is curious that, in a cast where the high voices were very economical with optional high notes, the baritone seemed eager to take every one available, most excitingly in the closing scene.

Christine Rice was a fruity, string Maddalena and Matthew Rose a firm, dark-toned Sparafucile.

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