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SEEN AND HEARD INTERNATIONAL OPERA REVIEW
Zandonai, Francesca da Rimini: Soloists, Chorus and Orchestra of Teatro Argentino. Conductor: Carlos Vieu, Teatro Argentino, La Plata. 24.10.2010. (JSJ)
Director/Sets/Costumes: Louis Désiré
Lighting: Rubén Conde
Chorus: Miguel Martínez
Cast:
Francesca: Nicola Beller Carbone
Paolo: Enrique Ferrer
Giovanni: Luis Gaeta
Samaritana: Florencia Fabris
Ostasio: Luciano Garay
Malatestino: Sergio Spina
Biancofiore: María Bugallo
Garsenda: Gabriela Bulich
Adonella: Vanina Guilledo
Altichiara: Roxana Deviggiano
Il giullare: Fabián Veloz
Smaragdí: Guadalupe Barrientos
Ser Toldo: Patricio Oliveira
Il balastriere: Emanuel Esteban
Il torregiano: Ricardo Crampton
Prisoner’s voice: Daniel Zuppa
Malatestino (Sergio Spina) attempts to blackmail Francesca (Nicola Beller Carbone) in Act 4.
Picture © Genitti/Teatro Argentino
Zandonai’s Francesca da Rimini gets occasional revivals in Buenos Aires and this time from the Teatro Argentino, also presenting a stark contrast to its last offering of Handel’s Giulio Cesare. This new production is a co-production with the Opéra Monte Carlo, which will present it in the Salle Garnier in Monaco in March 2012.
It is a large work, both musically and dramatically, and in this case in an interpretation defying obvious explanation it was dominated by two giant hands – one on its side to one side of the stage and the other centre stage, initially palm down, then elevated as if a cave and later palm up serving for example as Giovanni and Francesca’s marital bed in the final act. Similarly unusual was the killing of Francesca and Paolo by what appeared to be a giant pencil with a dagger handle.
f the visual aspects were somewhat anomalous the same cannot be said for the
musical ones, which mostly were outstanding. Carlos Vieu conducted the Argentino orchestra with his customary style, seemingly belying the complexities of the music and bringing out its many colours.
The title role was played by German-Spanish soprano Nicola Beller Carbone, who gave a visually powerful and vocally colourful characterization. As her lover Paolo the Spanish tenor Enrique Ferrer was robust and dramatic, and the crippled Giovanni was played by Luis Gaeta with his customary roundness. Sergio Spina also was convincing as the third brother Malatestino, exuding malice in actions and voice.
Among the smaller roles, notable were Luciano Garay (Ostasio) and Fabián Veloz (the minstrel) and among the females Florencia Fabris (Samaritana) and Guadalupe Barrientos (Smaragdí).
Jonathan Spencer Jones