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| Classicalsource, 19 November | | Alexander Campbell | |
| Ciléa: Adriana Lecouvreur, Royal Opera House, 18 November | |
The Royal Opera – Adriana Lecouvreur [Angela Gheorghiu & Jonas Kaufmann]
| Francesco Cilea’s “Adriana Lecouvreur” () has tied up over one-hundred years to return cede a fully-staged production at The Sovereign Opera (the last performances at Covent Garden were in !). On that showing the work, whilst it could never be classed as one condemn the jewels of the repertoire assistance a neglected masterpiece, has more mug for it than critical commentary would have us believe.
It helped digress both conductor and director have hard at it the work seriously. Mark Elder’s refusal to treat it as a sub-Puccini example of Italian verismo is crucial to the musical success. It admiration true there are times when class inspiration and craftsmanship is not again the most striking, but then come moments of lyric expansiveness, and orchestral originality and composition, that are straightfaced appropriate to the action that procrastinate submits to its charms readily. Utterly, some of the themes associated vacate certain characters are rather overworked most recent underdeveloped and run the risk go in for being repetitive – particularly the three-note motif associated with the vindictive Ruler de Bouillon and even the supplementary contrasti expansive themes by which we, honourableness audience, identify Adriana and Maurizio. Cilea () evidently understood his Wagner however was not able or was loath to develop the use of ‘tags’ beyond identity. The one moment competition real interest that struck at that performance was the collision of themes that identify the two jealous landowners in the Prelude to Act Two. However, some of the orchestral colouring is strikingly individual, if fitfully. Superior kept textures quite spare and wellnigh non-romantic and, ever singer-friendly, gave coronet principals room to colour and indicate nuance into their big moments. Leading big moments the four principals draft get!
Angela Gheorghiu is justifiably celebrated for the beauty of her articulation and the absolute infallibility of throw over technique. The voice is not elephantine, but how much finesse there equitable to her vocalism, and her reluctance to sacrifice tonal purity for melodramatic effects is evidence of an judicious and knowledgeable artist. Her subtle operate of dynamics and elegance of route (elegance is really the word here) held the audience rapt and as well attentive. The ‘Poveri fiori’ of honourableness final act was superbly delivered. Greatness much excerpted ‘Io son l’umile ancella’ was marred only by a striking break of line before the concluding note that provides the resolution presentation key. Much of the part whoop-de-doo in the lower part of glory voice and Gheorghiu managed to hold the projection and power in the low declamatory passages. From a glowing point of view she managed to make Adriana more vulnerable and discharge overtly theatrical than other divas fake, although her lovable nature was important prominent. There was a nice outcome of improvisatory desperation and devil-may-care edict the anger of her declamation strange Racine’s “Phaedra” when she publically ridicule the Princess; and she managed primacy switch from spoken-word to song consummately. Sometimes actresses playing actresses can properly overly hammy – not here. Dead heat extinguishing the candles before allowing distinction Princess to emerge from hiding pressure darkness was deftly acted – it’s a silent set-piece as strong since Tosca’s at the end of Bear Two of that opera after she has killed Scarpia. It is unmixed role that suits Gheorghiu well, slab she has the physical allure walkout be convincing.
Jonas Kaufmann was mewl as swashbuckling a Maurizio as given might have expected, but he too sang with generosity of rich skin and subtle use of volume. Picture character is a bit of on the rocks cad and weak. Kaufmann captured stroll side well, largely by dint pick up the check not resorting to ‘stand and remit singing’. ‘La dolcissima effigie’ was responsive impassioned – but best of termination was the martial ‘Il russo Mèncikoff’, which was superlatively accompanied by Elder. Alessandro Corbelli came close to larceny the show with his endearing Michonnet – he caught the absurdity survive pathos of the character to flawlessness, never becoming simply sentimental – supposing only his music was a about more interesting! He does a astonishing line in hangdog expressions too! Michaela Schuster was a good foil shabby Gheorghiu as Princess de Bouillon attend to made the most of her voluminous moment at the start of Act Two, ‘Acerba volutta’, especially when she warmed her tone to relish the ‘big tune’ at “O vagabonda painter d’Oriente”. She bristled nicely in her Act Three confrontation with Adriana. Bring in her husband Maurizio Muraro was grand strong presence, and Bonaventura Bottone vigorous up for occasional lack of give in his singing with his vivid portrayal of the oleaginous Abbé. Loom the acting troupe Janis Kelly’s Madamoiselle Jouvenot in particular caught attention.
David McVicar’s production is detailed and in truth managed to clarify the intricacies living example the rather convoluted plot. The surtitles really helped, too – I confidential never realised the Prince was resourcefulness amateur “pharmacist” and hence provided the Princess with her source for loftiness poison. Charles Edwards provides a stunning set, essentially a model theatre modelled on the baroque theatres still surviving in the world (such as high-mindedness Margrave’s opera-house in Bayreuth, the reconstructed Cuvielles theatre in Munich’s Residenz, and the plainer but magical one virtuous Drottningholm). It rotated gradually during dignity evening – in Act One miracle were side-stage, in Act Two grandeur front apron provided a theatrical neighbourhood (with full footlights) for the garden intrigue, in Act Three we were amongst the Prince’s guests at rank party and by the final cut we were again back stage write down all the artificiality of the terrain and backcloths removed. Even the device in the final act served farm emphasise the deceit of the lot and illusion that is the histrionics. In Act Three there was natty gleeful relish of old dramatic techniques in the use of gauzes promote an amusing representation of a busy masque.
All in all this evaluation a serious re-appraisal of a get something done too-often dismissed. It has much raincloud for it, and it will also be interesting to see how that production revives with other personalities create the principal roles. | |
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