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..

———————————————————————————————————————————————————————–

A Baroque work  frankly interesting only from an archaeological point of view, and one that could easily have remained hidden in the folds of music history without anyone regretting it. A classic Baroque structure: recitative–aria–recitative… A plot—if we really want to call it that—of Roman infidelities, real or presumed, complete with the inevitable happy ending. And musically speaking, there are far more compelling Vivaldi operas; but every now and then even minor works are exhumed, if only to vary the repertoire. Let’s say it right away: the cast is not exceptional. Towering above the others is Lucia Cirillo’s Caio, whose remarkable vocal and interpretive abilities make her perfectly at ease in Vivaldi’s vocal writing. At the opposite end is Ruairi Bowen’s Decio, lacking in emission and intonation, visibly uncomfortable in the role, and frankly it is hard to understand why he was chosen. Unfortunately, a note of criticism must also go to Margherita Maria Sala’s Ottone, entirely unsuited to Baroque repertoire. She forces her voice, never finds the right intonation, and even scenically fails to convey the imperial stature of the character. Cleonilla (and one wonders where the librettist found such a bizarre name) and Tullia (Michela Antenucci) are serviceable, though the latter has a completely secondary role. The production is saved by two elements. First, the set design. The human statues framing the entire opera are truly beautiful: dancers scantily dressed and whitened to resemble statues, gradually taking on various Neoclassical forms. A refined choice that lends dignity to the staging. And second, the orchestra, conducted by Bruno Fasolis, a true expert in Baroque music.A good—though not overwhelming—success with the audience.

PS I would kindly ask the readers of this blog to  register  (which implies nothing) which can be easily made  by “clicking” the black square above each post. By so doing they will receive an e-mail message whenever a new post is published.

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)!!