PS Un “blogger” non è un oracolo e commette inevitabilmente errori (il minimo possibile..). Ricevo spesso “correzioni” non sempre fondamentali e non sempre precise. Così come io mi sottopongo al giudizio altrui con nome e cognome così chi vorrà avere la bontà di segnalarmi eventuali errori o imprecisioni dovrà farlo unicamente mandando un commento: a ognuno la propria responsabilità. In base alla nuova normativa chi si fosse iscritto e desidera de-iscriversi è sufficiente che mi invii un messaggio e-mail..

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Certainly one of the mos beautiful Donizetti’s operas, which has received a worthy celebration at La Fenice with direction and set design by Pierluigi Pizzi to whom age does not seem to have in any way weakened his interpretative flair and mastery in the staging of the scenes. Here they are all of a somber tone (as befits the tragedy with the only concession to the costumes, In particular Anna’s (a bit extravagant compared to the dictates of sixteenth-century fashion with pants under a cloak) and that of Henry who in the first scene offers a bare calf to the eye. But in the overall context nothing jars as do all the dynamics of the characters who never overdo it and who never fall prey to overdone attitudes. So a “bravo” to Pierluigi Pizzi, the costume designers and also to the lighting technician. The quality of the performance is rewarded by the voices. I had never had the opportunity to hear Russian soprano Lidia Fridman an Anna who does not make one regret famous performances such as Callas. Perfect intonation in all registers, exceptional voice extension and great stage presence. A well-rounded Anna who drew all the nuances from the score, rendering the character with strength and passion. Somewhat of less quality Carmela Remigio as Seymour’s Giovanna. The character has a controversial but dramatic personality in her constant shift from passion to remorse. Remigio has excellent vocal qualities but lacks the dramatic tone that would be required, A soprano more lyrical than dramatic.  For once finally a male cast of the highest quality. Alex Esposito is a powerful bass-baritone with dramatic tones who perfectly impersonates Henry VIII and his intimate perversion. In all scenes his dramatic approach is up to the score both vocally and interpretatively. And similarly, kudos to tenor Enea Scala who certainly can be forgiven a small uncertainty in the first act but then developed a top-notch performance. Tenors of great quality are very rare today and Scala is among the small number. In the norm are the other singers. Completing the success of the opera was in no small part the conducting of Renato Balsadonna, who throughout the entire score conducted the orchestra with a steady hand, allowing the singers to fully play their roles, assisted by the chorus conducted by Alfonso Caiani. Justifiably great success of the audience that filled the theater in every order and gave all the protagonists prolonged applause. A beautiful performance. 

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PS A “blogger” is not an oracle and inevitably makes errors (the minimum possible..). I often receive “corrections” not always fundamental and not always accurate. Just as I submit myself to the judgement of others with the name and surname so those who want to have the goodness to report errors or inaccuracies will have to do so only by sending a comment: everyone has his own responsibility.

Per un elenco aggiornato di tutti i precedenti  posts di questo blog con i corrispondenti links

PS  Vorrei ringraziare tutti coloro che inseriscono commenti  ai posts utilizzando l’opzione “Lascia un commento”  (o “commenti” se ne sono già stati inseriti) prevista nella sezione sinistra (o prima del testo per schermi ridotti come i tablets) dei posts stessi affinchè tutti possano leggerli.  Il dibattito è sempre interessante per tutti…..grazie (è indispensabile lasciare nome e cognome – i commenti anonimi non saranno pubblicati)!!