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ROBERTO DEVEREUX by Donizetti in Firenze


ROBERTO DEVEREUX by Gaetano Donizetti at Opera di Firenze

Applause: Teatro dell’Opera di Firenze. Prima dell’ opera concerto “Roberto Devereux”
. 18/05/2014. Foto: Pietro Paolin

(in concert form)

2014 May 20th

Review by Fabio Bardelli. photo Pietro Paolini.

FIRENZE/ITALY:  Roberto Devereux by Gaetano Donizetti has a strange destiny, its premiere was in 1837 and the opera remained in repertoire almost until the end of 19th Century. Then it was no longer staged until 1964, with Leyla Gencer in the title role
. Since then it has entered the repertoire of many great sopranos, including Mariella Devia, who is also the protagonist of this reprise in Florence, albeit  in concert form.

Teatro dell’Opera di Firenze. Prima dell’ opera concerto “Roberto Devereux”. 18/05/2014. Foto: Pietro Paolin

 

Roberto Devereux is a part of the so-called Tudor Trilogy (with Anna Bolena and Maria Stuarda), and tells the story of Roberto Devereux, Queen Elisabeth’s secret lover. After many political but particularly personal stories, he was sentenced to death. Elisabeth is the most interesting character of this opera, even if she is not title-role: she is a tragic, strong-willed, jealous and vindictiv Queen, but also having thoughful moments that let the singer act on different expressive registers of the character. It’s really a great role, and Mariella Devia takes it now that she’s objectively almost at the end of her career, unfortunately the years pass for everybody, also for Mrs. Devia who has always chosen very carefully her repertoire but started to sing in the1970s.

Mrs. Devia faces the character with intelligence and skill, and she’s very able to adapt the role with his difficulties to her current vocal status, but the limits of this singer are evident, even if we must not forget how much she has given to Italian Opera. Her lyrical moments in the middle register were wonderful, high notes are reached sometimes almost with  rage and lower ones indistinct (the disparity in her vocal register is well known). Unfortunately she lacks the clear cut and flaming phrasing that is a essential part of a role such as Elisabeth, specially if the opera has so many recitatives like this one.

In her cabalettas and in her moments of scorn and rage we see all her force of character in her trying to sing the complex Donizetti’s writing at her best even if the voice is sometimes forced. Anyhow her interpretation goes progressively better until the Final Scene
. That said, Mrs

• Penile Doppler Ultrasonography sildenafil 15PHYSIOLOGY OF ERECTION.

. Devia’s interpretation must in the whole be praised, and it must be considered her iron will and great vocal intelligence that allow her, at age 66, to sing such a role.

Teatro dell’Opera di Firenze. Prima dell’ opera concerto “Roberto Devereux”. 18/05/2014. photo Pietro Paolini

Tenor Celso Albelo was Roberto Devereux and sang really well, showing his pleasant  voice of beautiful colour, equal in the various registers, a beautiful singing line stylically adequate, and a perfect control of the production, with a good phrasing even if sometimes not very effective.

Sara was Chiara Amarù, a young Italian mezzo with a very interesting voice and a soft and full timbre. She is certainly a singer to follow in time.

Baritone Paolo Gavanelli arrived only two days before these performances to replace another singer who was suddenly ill. He did what he could with his torrential and rough voice, but showed also a great command of his role.

The other singers in the secondary parts were on an average level.

Conductor Paolo Arrivabeni did a good job, even if he didn’t show fantasy or specially original ideas for the interpretation. More often, he based himself on his experience.

Orchestra and Chorus of Maggio Musicale Fiorentino were in really good shape, and I must praise above all the first flute Guy Eshed, who has confirmed himself as an excellent soloist.

The audience that filled the house was very warm with all the interpreters,and tributed a real triumph for Devia and Albelo.

Fabio Bardelli

translation from italian Bruno Tredicine

Conductor, Paolo Arrivabeni

Orchestra e Coro del Maggio Musicale Fiorentino

Maestro del coro, Lorenzo Fratini

CAST:

Elisabetta, Mariella Devia

Il Duca di Nottingham, Paolo Gavanelli

Sara Duchessa di Nottingham, Chiara Amarù

Roberto Devereux, Celso Albelo

Lord Cecil, Antonio Corianò

Sir Gualtiero Raleigh, Gabriele Sagona

Un paggio/Un famigliare di Nottingham, Gianluca Margheri


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