D'inverno Rimini (Nord) è – più o less - so ...
But do not tell the Boche ( smile! ) Senna never return here, where instead they also bring about serious things, like Fidelio passing in these days of Ravenna, at the Teatro Alighieri . These production Bolzano - already tested there - Kuhn-coupling Schweigkofler ( the creators of a remarkable Elektra, a year ago) reinforced by the Austro-German interpreters.
commendably packed theater and the public has been a credit to the show.
Equipment smart and interesting scenes with minimalist Walter Schütze and lights Claudio Schmid : a simple platform empty, surrounded by players, vaguely modern costumes, which will gradually rise over coming their turn to speak in plot. In more than a few stools and poles (like lap-dance) that descend from time to time, for example to remind us symbolically that we are in a prison. Programmatically Schweigkofler manages the actor's second royalties from commedia dell'arte, which sometimes overflow ends up in vaudeville, but never vulgar. From this point of view I must say that everyone has done their job admirably.
On the musical, and I quote in order of appearance:
Jaquino was Alexander Kaimbacher : slight but clear and pleasant voice, like that of Marzelline of Rebecca Nelsen . Together they formed a very effective couple. Much applauded, in particular, Nelsen. The tenor has also been pro tempore the circus magician, performing in some typical tricks (rings that separate and unite, swords piercing nonexistent bodies, wisps that escape from the hands) while running the first act, which Kuhn has pulled in on time running along the chorus.
Leonore was Anna Katharina Behnke . A very good performance, his (considerable 's Abscheulicher ) where I find a fly in the ointment congenital, as it were, an excess of vibrato on high notes that I personally like it a little. In the end, great reception for her.
The Rocco Ethan Herschenfeld is more than decent, even if the voice is a little more penetrating baritone that low. In the initial quartet maybe it's not him and the other three above a touch of pathos more that would not have spoiled.
Don Pizarro was Thomas Gazheli . Remarkable performance, both actor (yet another Gouverneur physically handicapped - guardian of the left leg - and schizoid personality) and on that song, which was excellent in moments of great violence, and has an over-spotted little compromise phrases to sing in a low voice. Triumph for him anyway.
The Florestan of Schager Andreas (I) has much convinced: voce bella e chiara, non certo da heldentenor , ma per me appropriata al personaggio. Bravo anche ad emettere correttamente i suoni, nella sua aria tremenda di esordio, pur costretto a farlo da posizioni non proprio rilassanti (tipo flessioni sugli avambracci…) Applausi convinti anche per lui.
Infine, più che dignitoso il Don Fernando di Sebastian Holecek , voce potente e presenza autoritaria, come si addice al personaggio del lungimirante Minister .
Rouwen Huther e Ruggiero Lopopolo han fatto dignitosamente la loro parte di solisti, in mezzo al coro dei prisoners.
Clean, is moving in the chorus of the first act, which in the final expressions of joy, the Vienna Philharmonic Choir led by Walter Zeh .
Gustav Kuhn not resist the temptation to insert the Leonore 3 just before the Final . Choice always questionable, even though Mahler ... Schweigkofler has tried to capture the public's interest by the prisoners sit on the deck to watch the film photos of the Provincial Archives Bolzano (taken after the second world war) in memoriam , one might say, the times in which the inmates lived peacefully in the family. A diversion that only in part, in my modest opinion, has made repair the damage caused by the action long hiatus imposed by the quarter-hour symphonic. That said, a good ! a director and the professors of Haydn BZ-TN to run truly captivating and loudly applauded at open stage.
Apart from this questionable choice, Kuhn's well-made drama of duplicity, almost light comedy in the first act, all on tiptoe (Pizarro apart) and just weight in the second, conducted with all seriousness really Beethoven. Even for him and the orchestra a great final triumph.
Conclusion: a wonderful night of music, which confirms the very high standard of these productions, often referred to condescendingly as provincial . Avercene!
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