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Ponchielli, La Gioconda: Soloists, Orchestra and Chorus Sinfónica de Madrid Conductor: Evelino Pidò Teatro Real de Madrid. 19. 2.2008 (JMI)

Co-production Madrid Teatro Real, Barcelona Liceu and Arena de Verona.

Director: Pier Luigi Pizzi
Sets and Costumes: Pier Luigi Pizzi
Lighting: Sergio Rossi.

Cast:
La Gioconda: Violeta Urmana
Enzo Grimaldo: Carl Tanner
Barnaba: Lado Ataneli
Laura: Elisabetta Fiorillo
Alvise: Orlin Anastassov
La Cieca: Elena Zaremba


La Gioconda is an opera better known by opera lovers from  recordings than for the opportunities for seeing it on stage. From my personal point of view, this is nor  a masterwork, although it contains moments of great beauty, such as the most popular arias “Cielo e Mar” and “Suicidio”.  But the rest of the opera is not at the same musical standard, apart from some brilliant ensemble pieces and, of course, the popular ballet “The Dance of the Hours”. This opera's  biggest problem is  being contemporary with the last Verdian operas which results in devaluing when comparisons with them. If it is not easy to cast a Verdi  opera, there are similar or even greater difficulties  with La Gioconda, since it requires five top quality singers, if not six, and a first rate ballet company, which  is always  much expected by the audience. In these circumstances, most theatres choose Verdi  rather than Ponchielli.

This production had its premiere at Barcelona's  Liceu, opening the opera season 2005/2006 and  is a co-production with Madrid's Teatro Real and the Arena di Verona, although it seems to me that in the latter case the co-production element doesn't much further than sharing costumes, since the Arena is a much larger space than any normal opera theatre. The production has stage direction by Pier Luigi Pizzi, who also designed the sets and costumes, as he normally does. It is a beautiful production, showing the Venice bridges, under which there is gondola traffic flows. The sea and ships are always seen on stage with a very interesting lighting work. If Pizzi shines in any particular aspect of his work however, this is with his costumes, for which he presents outstanding combinations of white, red, grey and black dresses. Pizzi is a great designer and though not often at the same level as a director, here he manages the chorus members and extras very well. Direction of the singers is  better than in Barcelona too, probably due to the fact that he had better singer-actors in Madrid. In  n the huge scenic space of Verona the production must  be really spectacular.

Musical Direction was in the hands of Evelino Pidò, whose work seemed to me more convincing than Daniele Callegari in Barcelona. This opera has many high and low points and it needs a first class conductor to prevent  interest from waning. Mr. Pidò did not always sustain interest but  he offered a generally ood reading, with such good playing from the Orchestra, that they were better than on many other occasions. The Chorus sang their very demanding parts well too:   their new Chorus Master, Peter Burian, seems to be leading them in the right direction.

Giocanda was Violeta Urmana, without a doubt one of the few singers who can deliver this role today. She gave an outstanding performance, particularly in her interpretation of “Suicidio”, and was always credible simply living the character.  Is she really a dramatic soprano, I wonder? I suspect that she is more a mezzo-soprano with a beautiful middle range than a  true soprano. It is understandable however that  an artist of her quality wants to tackle the many appealing  soprano roles in Italian opera, whereas as mezzo her variety would be by far more limited.  She certainly has the required high notes, although not with the necessary richness and brilliance, since her top register is sometimes rather too tight and occasionally she stretches herself beyond her limits.  I prefer her singing Amneris, Eboli or Adalgisa, roles where she can be unquestionable number one. I can understand though that doing this  would much  and less interesting for her.

Enzo Grimaldo was sung by American tenor Carl Tanner, returning to the Teatro Real after his disappointing Pinkerton last July. His performance here was  much more convincing than previously, showing off a brilliant voice,  much better produced than before. My feeling about him is that he is really a dramatic tenor who should be in his element in the heavier repertoire, like Calaf, Samson or Chenier. He was easily at his best at the most dramatic moments, whereas he was some short of legato and elegance in his main aria, although he finished with a piano high B flat in piano effortlessly.

Lado Ataneli was a convincing Barnaba, by far better than Carlo Guelfi in Barcelona. He produced a strong and beautiful baritone, and was at ease on stage the whole time. Among the currently poor range of true Verdian baritones, he is certainly a good choice to consider.

Elisabetta Fiorillo replaced  Luciana D' Intino as Laura and, although she fulfilled her task adequately, the audience lost out with  the change. Ms. Fiorillo has no problems in the middle or the bottom registers, but while she has all the notes  in the upper range too, her vocal quality just isn't  not the same.

Bulgarian Orlin Anastassov was a so-so Alvise Badoero. He lacks vocal authority for this part and his voice production lacks  brightness in the upper register. He was at his best in his aria. Elena Zaremba was  good as La  Cieca, with a good rendering of her aria in the first act. She showed some worrying wide vibrato at the beginning but had it more under control as the performance continued.

Among the secondary roles the best singing came from the young  Bulgarian bass Deyan Vatchkov, who showed a wonderful and sonorous voice in his appearances as  Barnabotto, Pilot and the Singer.  I had  the impression that he could have been a very interesting Alvise and am sure we'll  will hear of him and soon.

The Gioconda  ballet - the Dance of the Hours - is a must and on this occasion it was worth it, as it also happened in Barcelona. The couple formed  by Angel Corella and Letizia Giuliani gave a wonderful performance, raising enthusiastic reaction from the audience.

There was full theater, as usual. The public applauded at every opportunity, particularly  for “Cielo e Mar”, “Suicidio” and the women's duet in the second act. The final bows were a  triumph for Violeta Urmana, with very warm receptions also for Tanner, Fiorillo and Ataneli, in addition to Maestro Pidò. But the solo dancers stole the whole show.

José M. Irurzun


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