LA BOHÈME in Firenze
LA BOHÈME in Firenze
di Giacomo Puccini, Opera di Firenze, Italy, 2016 November 23rd
Review by Fabio Bardelli, foto: Pietro Paolini – TerraprojectContrasto
FIRENZE/ITALY: A theater filled of a cheering audience of mostly young people is the unmistakable sign that La Bohème staged in these days in Florence has hit the mark. It is overall a enjoyable spectacle that with the complicity of the splendid Giacomo Puccini’s music may well be an opportunity for a “baptism” to the opera for children and teenagers, many of whom were accompanied by family members or by their teachers.
But an adult shrewd observer has to express considered judgment based on objective data, and this reviewer came out of the theater unenthusiastic.
. Photo: Pietro Paolini” width=”400″ height=”600″ /> La Boheme in Firenze, Ensemble. Photo: Pietro Paolini
The visual part of this Bohème is a revival of a staging by Lorenzo Mariani prepared for Bologna in 1999, with scenes and nice costumes by William Orlandi, and shows its age. Visually we have a huge practicable trellis, with platforms, stairs and ladders, which depending on its turning represents one or another environment where the story of the unhappy lovers and their friends bohemian takes place. But the stage direction, movements of singers and masses have the advantage of being fairly didascalic traditional and foreseable, even with almost no idea worthy of the name.
The conductor Daniel Oren on the podium really went too in a weakened conducting accompanying the singers with a certain refinement sensitivity but with substantial boredom, with flashes of coloristic evidence, but overall this Bohème seemed to never end. A conductor may also induce in relaxed tempos if is able to keep up the emotional tension without falling into warmheartedness but even if he has the right singers who follow him.
The Orchestra and Chorus of the Maggio Musicale Fiorentino (conducted by Lorenzo Fratini) follow Daniel Oren with admirable efficiency.
Jessica Nuccio, a young soprano of undoubted interest, was Mimì certainly not showing a voice of great volume but pleasant, well trained and uniform in all textures. She lacks certainly in vocal size to give meaning to the more decisive and dramatic phrases, but overall she has outlined an anxious dreamy and rather well sung Mimì.
Fabio Sartori as Rodolfo presents as usual his torrential and homogeneous voice but rather rough and lacking in nuances, globally a little dreamy slightly romantic and a little bohemian Rodolfo.
The three low male voices (Simone Piazzola, Gianluca Buratto and Fabio Previati) were pretty well and globally effective, while Laura Tatulescu was a very little sparkling Musetta. On an average level was Salvatore Salvaggio in the double role of Benoit and Alcindoro. Also the other singers were on an average level.
Direttore, Daniel Oren
Regia, Lorenzo Mariani
Scene e costumi, William Orlandi
Luci, Christian Pinaud
Orchestra e Coro del Maggio Musicale Fiorentino
Maestro del Coro, Lorenzo Fratini
Mimì, Jessica Nuccio
Rodolfo, Fabio Sartori
Marcello, Simone Piazzola
Musetta, Laura Tatulescu
Colline, Gianluca Buratto
Schaunard, Fabio Previati
Benoit / Alcindoro, Salvatore Salvaggio
Parpignol, Carlo Messeri
Sergente dei Doganieri, Vito Luciano Roberti
Un Doganiere, Antonio Corbisiero
Venditore ambulante, Leonardo Sgroi
Figurante speciale, Luigi Benassai