Why is that British opera stagings are all so beige? We all know that one week of Komische Oper makes one eager for some dreariness, but, really, what is the point of importing Peter Hall’s unimaginative production from Glyndenbourne? Take Jean-Pierre Ponnelle’s film with Frederica von Stade and replace all colours for pastels and you can tell everyone you had the pleasure of visiting the English countryside in your tuxedo while watching this most agreeable performance of Rossini’s masterpiece. The lack of imagination applies to the stage direction too – all the clichés of Rossini staging are unashamedly paraded in front of your eyes. As Morticia Adams once said, one can forgive everything but pastels. Maybe that is why Angelina has a full-golden wedding dress in the closing scene. Her revenge might be her forgiveness, but it seems she will do some redecorating in the Prince’s palace.
In terms of casting, some replacement has happened before the première. Conductor Paolo Arrivabeni has fallen ill and was replaced by Guillermo García Calvo, who could not resist the house orchestra’s richness of sound. Although that meant that singers would now and then be overshadowed by breathtaking vortices of string passagework, I have to confess that rarely have I paid so much attention to Rossini’s colourful orchestral writing. Maybe if the cast counted with larger-sized voices, this could have been an unforgettable Rossinian night. In any case, one will not forget the orchestral display – even in the conductor’s agile tempi, the sound was always full and flexible.
Sometimes one has the opportunity of hearing something so overwhelming that his or her future experience will be forever touched by that. And I could not help thinking of Olga Borodina’s Cenerentola at the Met in 2005, which was one of the most impressive vocal performances I have ever seen. That was a voice of real depth and volume flowing through Rossini’s fioriture with no hint of effort. That was a voice large enough to preside over ensembles and to create a truly regal effect in the rondo finale. I remember I wrote back then “rarely has the triumph of virtue sounded so triumphant as in Olga Borodina’s voice tonight”. I am sure that Ruxandra Donose’s lighter and smokier mezzo-soprano must work to perfection in Glyndenbourne. Although the Deutsche Oper is no Metropolitan Opera House, it is a large theatre for European standards and she took a while to warm. Until then, she tended to disappear in ensembles. Once she adjusted to the hall’s size, she never failed to impress in clear coloratura and in her seductively dusky low and medium register. Her top notes tend to sound bleached out and the closing scene was more efficient than astonishing. But – and this is a big “but” – she won me over nonetheless. She is a skilled and intelligent actress who projects a lovely personality throughout and never forgets that hers is one of the “serious” characters in the opera. At the end, one remembers her performance as extremely touching and the less than deluxe vocal resources seem to be part of her Angelina’s modest sweetness.
She was ideally paired by Mario Zeffiri’s Don Ramiro. Nobody wants to be called tenorino today, but it seems Zeffiri is comfortable with being something like our day’s Luigi Alva. His voice has nothing of the metallic quality most Rossinian tenors have today – there is an easy, smiling quality in his tenor and his facility with mezza voce makes his lyric moments particularly effective. He has an amazingly long breath and often shows off his ability to fly above high c, sustain it and then go on singing without pause. His big aria was a showcase of ornamentation, including a perfect trill. His acting abilities are not in the level of his Angelina, but he seems comfortable with what is required from him and – being the prince charming – his more discrete manners made sense in comparison to Dandini and Don Magnifico.
One always speak of how difficult the mezzo and tenor parts are, but one must never forget that Dandini is hard work. I do not remember having ever heard live or in recordings an immaculate performance of this role. Simon Pauly has no reason to be ashamed – although the voice is rather dark, it is always well-focused. He works hard for passagework and, once his voice starts to move, the sound is not always really pleasant. In this sense, the contrast with Lorenzo Regazzo’s Magnifico was quite telling, since the Italian bass-baritone offered crystal-clear divisions. I have to say that this is probably Regazzo’s best role. I tend to find him hyperactive, but Magnifico requires that. As a result, he seems to have limitless supplies of energy and is never caught short in any of Magnifico’s hyperbolic arias. Although Wojetk Gierlach’s high notes are a bit woolly, he sang Alidoro’s big aria with real bravura. I tend to be picky about the role of Clorinda – if the voice does not shine in the ensembles, than the part is rather pointless. I do not believe Martina Welschenbach was properly cast – her voice is charming, but not glittering enough up there. On the other hand, Lucia Cirillo’s sexy and fruity mezzo-soprano shows some promise.