SEEN AND HEARD INTERNATIONAL

MusicWeb International's Worldwide Concert and Opera Reviews

 Clicking Google advertisements helps keep MusicWeb subscription-free.

Other Links

Editorial Board

  • Editor - Bill Kenny
    Assistant Webmaster - Stan Metzger

  • Founder - Len Mullenger

Google Site Search

 



Internet MusicWeb


 

SEEN AND HEARD INTERNATIONAL OPERA REVIEW

Puccini, Turandot: Soloists, Real Orquesta Sinfónica de Sevilla Coro del Teatro de la Maestranza Conductor: Pedro Halffter Teatro de la Maestranza de Sevilla 22 & 23. 3.2010 (JMI)




 
Production Picture - Courtesy of Teatro de la Maestranza de Sevilla

 

After the success of La Fanciulla del West last year, Seville repeats composer and singers in Turandot: Daniela Dessì and Fabio Armiliato, on the one hand, and Janice Baird and Marco Berti, on the other. Maria Guleghina was there as Turandot with the Genoese couple and the French soprano Norah Amsellem.

 

Turandot had been last performed in Seville in 1998 and this was a revival of that production, following a healthy habit designed to make much-needed savings. This production bears the signature of British director Sonja Frissell, being premiered more than twenty years ago in Venice, whence Seville brought it for their premiere in 1998. The results are what might be expected from a traditional classic stage Turandot. Sadly however it had not aged all that happily. The sets consist of a rotating stage that offers a big crowned Chinese mask with stairs at both sides. The back of the rotating element - the entrance to a Palace with the typical Chinese dragons and a throne high above - is used for the Riddle and final scenes. The stage resembles that of other productions of the last years, from Zeffirelli to Nuria Espert. The costumes are in grey tones and are not very attractive, considering the usual fare offered in Turandot. Particularly poor were the costumes of three Ministers, while the Princess is much luckier. Good lighting is the complement to this traditional production. The stage direction is not particularly remarkable, offering a very static choir and routine ensemble scenes. One of the less interesting aspects is a trio of acrobats, between the mimes and clowns. It does not add anything to the action and is rather annoying. Nevertheless, there is no question that the production was enjoyed by the audience.

 

The musical direction was in the hands of Pedro Halffter, artistic and musical director of the Maestranza theatre. He did not reach the high level he attained in 2009 in La Fanciulla del West, but his reading was remarkable. Act I was a little too flat and the Alfano’s love scene was short of inspiration. It was however an intense reading in general. He drew forth a fine performance from his orchestra; the chorus proved less satisfying.

 

The first protagonist of the opera was Maria Guleghina. Her performance could be considered somewhat eccentric. On the one hand, she offered a truly arrogant Princess, transferring the prima donna attitude to the stage. You could not detect any change on her after Calaf’s kiss. Guleghina’s voice is one of the most impressive today and she proved it. Apart from sheer decibel power, she tried to sing softly here and there but was not always successful. There are not many singers able to cope with the demands of Turandot, and with her strengths and weaknesses, Maria Guleghina is among that small charmed circle.

 

The following evening we had American soprano Janice Baird, whose interpretation was convincing overall, but not perfect. Her performance was quite different from Maria Guleghina’s the night before. She offered a much higher degree of vulnerability and fragility. The moment she meets Calaf she becomes more human. Her love scene with him was much more convincing than Guleghina’s. Vocally, Baird has a smaller instrument, her upper range being her best aspect, while she is quite weak in the lower end of the range. Her voice now shows an instability that previously did not exist. Finally, her Italian diction is rather poor. Two very different interpretations of the same character do not say much in favour of Mrs Frissell as director – at least if we take consistency as a goal.

 

Fabio Armiliato was Prince Calaf. I am glad to report that he was in much better voice than last time I saw him as Andrea Chenier at Madrid Teatro Real. After a first act of not too much brilliance, he truly shone at the scene of the three riddles, although he escaped the high C in “ Ardente", which is written as optional. Still, for my money, that high C has a lot of meaning. He finished with an excellent Act III, delivering an outstanding "Nessun Dorma". Sadly he missed the ovation he deserved, because Maestro Halffter did not stop the orchestra. This pause is also optional, but there’s a sense to it if the interpretation of the aria is good, as was the case with Armiliato. Mr. Armiliato is undoubtedly one of the best performers of Prince Calaf today.

 

Marco Berti was the new Calaf and he proved again that his high register is outstanding. If Don Magnifico has in his head “una secreteria” Marco Berti has in his high notes “una trompeteria”. A different question is whether his phrasing and his middle range have the same quality. He was good in the riddle scene and did not evade the high C. His "Nessun dorma" was below Armiliato’s and his final “Vinceró” was too short, as is not unheard of from him. All in all, two outstanding Calafs.

 

Daniela Dessì as Liù showed that she is a great singer, as is well known by opera lovers. Her problems are mainly her unstable high register and the fact that the beauty of her great middle register loses much appeal in the upper notes.

 

French soprano Norah Amsellem offered a too small voice in Liu. She is a good singer, able to offer excellent pianissimi, but I have found her in a disturbing, vocal state considering her age. Her high register betrays signs of instability which now carry over into the middle range. From her Violeta at Teatro Real in 2003 to her Liu now, her vocal evolution gives cause for concern. Nevertheless, the audience loved her, and that is what really counts.

 

Russian bass-baritone Alexander Vinogradov was a remarkable Timur; much better than his Figaro in Berlin last month. There are singers and there are characters. The problem is to place the singer in the appropriate role. Here it worked out.

 

There was an excellent trio of Ministers, especially in strictly vocal terms. Worthy of particular mention was Manel Esteve as Ping. Gustavo Peña (Pong) and Javier Palacios (Pang) were also very good.

 

 

Veteran tenor José Ruiz was an accomplished Emperor Altoum but it is not easy to understand the presence of Italian Mario Bellanova as the Mandarin. There are several Spanish baritones who can sing this role better. He was mostly inaudible in his first appearance.

 

There was a full house both nights and a very pleased audience each time. Standing ovations and loud cheers came for the three protagonists of each performance and also for Pedro Halffter. Vinogradov also received a very warm reception.

 

José M Irurzun

Back to Top                                                   Cumulative Index Page