The new production of the bolognese opera-symphonic foundation, in collaboration with the Auditorio de Tenerife and the Opera de Oviedo, finally arrived on the stage of Teatro Comunale di Bologna. Even though I didn’t managed to attend the premiere of the new Silvia Paoli’s Lucrezia Borgia, the rumours about the “scandalous” production & about the tough reactions of those who attended the first performance made me curious, to be honest. These and, of course, the cast, starring OLGA PERETYATKO in the title role, the Romanian tenor ȘTEFAN POP as Gerano and MIRCO PALAZZI as Duke Alfonso d’Este convinced me that I couldnt’t miss it.
Basically, Paoli plays with fairytale metaphors, recounting in the prologue how Lucrezia aka Lite Red Riding Hood is violated by her father aka Wolf, a figure who will follow or persecute her for the rest of her life, perhaps responsible for the woman’s cruelty. The entire action of the opera takes place in a slaughterhouse, where there’s
the desk surmounted by Duke Alfonso d’Este’s Roman eagle, the long sumptuous table the Negroni palace, and what looks like a dungeon where a group of prostitutes are brought on stage in a large cage.
The Romanian tenor STEFAN POP, even though not in the best shape vocally-wise because of an awful laryngitis, performed remarkably the role of Genaro. He is pretty well known for the beauty of his timbre and the secure his register, now proving himself to have depth knowledge on how the the belcanto repertoire must be sung.
The Franch mezzosoprano LAMIA BEUQUES was spectacular, both vocally and theatrically fitting amazingly her character, Maggio Orsini. The revelation of the evening without any doubt. I’m looking forward to seeing her perform some bigger role.
The cast was successfully completed by CRISTIANO OLIVIERI (Jeppo Liverotto), TOMMASO CARAMIA (Don Apostolo Gazella), TONG LIU (Ascanio Petrucci), STEFANO CONSOLINI (Oloferno Vitellozzo), NICOLÒ DONINI (Gubetta), PIETRO PICONO (Rustighello).
Maestro YVES ABEL’s matches the staging and the settings somehow, emphasising tense dynamics and frenetic rhythms. Excellent performance for the male chorus conducted by M° Gea Garatti Ansini also.
Considering the whistles and groans rained down between one scene change and another, one would say that Paoli’s Lucrezia Borgia was disappointing, wouldn’t he? I don’t agree with that though. Abused as a child, used as a political bargaining chip by her father and brother, Lucrezia has no choice, but to seek her own way using the only way she was taught: violence. And that’s exactly why Paoli’s direction and the entire staging is credible, convincing, realistic. Too carnal, sexist, bloody and violent? It’s the eternal violence exerted by men on women’s bodies. But we watch that in TV series all the time. Why should it get a different reaction, so outraged, when staged in an opera house?
OLGA PERETYATKO, at her debut in the role of Lucrezia, is appreciable for her virtuosity, her full timbre throughout all registers, giving the character an interesting depth, gaining the approval of the audience. I must mention also the charm, charisma of her presence on stage – a true 21st century diva, in the best sense of the word.
The Romanian tenor STEFAN POP, even though not in the best shape vocally-wise because of an awful laryngitis, performed remarkably the role of Genaro. He is pretty well known for the beauty of his timbre and the secure his register, now proving himself to have depth knowledge on how the the belcanto repertoire must be sung.
The Franch mezzosoprano LAMIA BEUQUES was spectacular, both vocally and theatrically fitting amazingly her character, Maggio Orsini. The revelation of the evening without any doubt. I’m looking forward to seeing her perform some bigger role.
The cast was successfully completed by CRISTIANO OLIVIERI (Jeppo Liverotto), TOMMASO CARAMIA (Don Apostolo Gazella), TONG LIU (Ascanio Petrucci), STEFANO CONSOLINI (Oloferno Vitellozzo), NICOLÒ DONINI (Gubetta), PIETRO PICONO (Rustighello).
Maestro YVES ABEL’s matches the staging and the settings somehow, emphasising tense dynamics and frenetic rhythms. Excellent performance for the male chorus conducted by M° Gea Garatti Ansini also.
Considering the whistles and groans rained down between one scene change and another, one would say that Paoli’s Lucrezia Borgia was disappointing, wouldn’t he? I don’t agree with that though. Abused as a child, used as a political bargaining chip by her father and brother, Lucrezia has no choice, but to seek her own way using the only way she was taught: violence. And that’s exactly why Paoli’s direction and the entire staging is credible, convincing, realistic. Too carnal, sexist, bloody and violent? It’s the eternal violence exerted by men on women’s bodies. But we watch that in TV series all the time. Why should it get a different reaction, so outraged, when staged in an opera house?
