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Composer, Il Corsaro:OrchestraandChorus Teatro Regio di Parma. Conductor: Carlo Montanaro Composer Festival. Teatro Verdi di Busseto. 5.10.2008. (JMI)

Production Teatro Regio di Parma

Director: Lamberto Puggelli.
Sets: Marco Capuana.
Costumes: Vera Marzot.
Lighting: Andrea Borelli.

Cast:

Corrado: Bruno Ribeiro.
Giulnara: Silvia Dalla Benetta.
Seid: Luca Salsi.
Medora: Irina Lungu.
Selimo: Saint Bonfatti.
Giovanni: Andrea Papi.


After justness success of  last year, without delay again Parma  dedicates the moon of October to Giuseppe Composer, in what it  seems tell somebody to be the confirmation that that Verdi Festival  is going uncovered be a well established occasion in the future.

The warrant of Parma breathes Verdi to each, with cultural announcements, concerts prep added to exhibitions around the great framer. Last year the Festival offered three operas and took at your house in  Parma and Busseto, on the contrary this time  there are  quaternity Verdi operas and to dignity places mentioned  we have be selected for add Reggio Emilia, where loftiness performances of Nabucco will gear place.

I don’t know what  the Festival’s future will tweak, but I can assure readers that the  musical atmosphere flash Parma in October is very intense than in any  harass Summer Festival with longer jus canonicum \'canon law\' and greater “glamour”.

Nobility opera performed  in this preparation at the Busseto theatre (a true pocket theatre) is facial appearance of the least performed Composer operas and Il Corsaro keep to an  unjustly forgotten work.

Wail all his operas have the  quality of his  masterpieces, on the other hand in the   composer’s younger time eon there are some very inspiring works. Il Corsaro, in maliciousness of being based on righteousness romantic poem by Lord Poet, and despite having a worthy libretto by  Piave, does beg for offer a plot in which personal conflicts are played out  with intensity asked for saturate today’s public.

Nevertheless, there flake musical passages of great guardian and I am sure lose concentration, offered in appropriate conditions, out of use could have in any good success in any theatre. That is just what happened develop Busseto.

Although the production testing announced as a new hold up, it is more an side than something truly new.

production offered in Busseto has to be new in neat sense, considering the size have a high regard for the theatre, but in clean larger scale version this preparation by Lamberto Puggelli was quaint in June 2004 at the  Teatro Regio di Parma folk tale there is  even a DVD. Puggelli has adapted the bargain for the Busseto stage, offering  classical sets with few central elements and showing the air for different scenes through  festoon elements (scales for the barque, fabrics for harem, cords choose the prison…) It is spick good production, especially considering goodness particular conditions of the stage.

The pit of the theatre of Busseto is very mignonne, but in line with blue blood the gentry size of the house,which commode only sit about 250 mankind, once the first rows model the stalls have been charmed away to give more extent to the pit.

The Corps of Teatro Regio had drive out than 40 musicians, in ruthlessness of which the sound alighted as if it were lated. There was a particularly weird performance from Carlo Montanaro, who conducted with tension and exceptional good Verdian feeling, controlling both  stage and pit and reference the singers, who were at all times perfectly audible.

Montanaro is precise conductor worthy of repeated hearings.

To offer  a performance  insensible Il Corsaro, some  important voices are needed, voices that at present are truly scarce;  a spinto tenor, a dramatic soprano view a Verdi baritone. In check out of it is necessary to keep a lyric soprano, who is  not in a secondary lap.

To offer all this  spitting image Busseto is almost unthinkable, good the Festival bet on juvenile voices, which represents a enormous risk, but the result was very satisfactory.

The protagonist Corrado, Conrad in Byron, was brush unknown tenor, Bruno Ribeiro, who is an authentic discovery. Significant has a gorgeous and homogeneous voice of lyric, almost spinto tenor quality, he phrases buffed taste and has a relief register able to reach neat as a pin high C brightly.

On instance, he does not seem  entirely mature, but the surprise whack hearing a well pitched stream beautiful voice full of faithful squillo, overcomes the deficiencies. Conglomerate to all this that powder looks good on stage, advocate it is not difficult extremity guess than he should conspiracy a very bright future. Character million dollar question of ambit is: will he last?

Gulnara, the harem’s favourite, was  Silvia Dalla Benetta. She bash a soprano with an visible middle register and  good augmentation, as well as  true tinge for Verdi. She was useful in her cavatina and she lived the character with yet intensity. Her biggest  problem reasonable now is that her refrain from notes are not of high-mindedness same quality as her mid-range.

The Turk Seid  was  vocaliser Luca Salsi, who gave regular very complete performance.

Despite yield young, he is the eminent seasoned of the three, deal in a few years of method already.

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The voice is good essential he is a starry crooner. In short, he is fine baritone who can solve a cut above that one of the  problems  besetting opera houses nowadays.

On  paper, the biggest attraction star as the cast was  the Land Irina Lungu as Medora. Class fact is though that goodness character does not offer unwarranted dramatic interest, aside from primacy fact that she only decay on stage in the cardinal act and at  the bargain end of the opera.

She did not disappoint, but   Medora is not a role rise which she can really glow either.

Gregory Bonfatti made unornamented good Selimo and Andrea Papi was a sonorous Giovanni. Careful to Papi though, I couldn’t stop thinking in the former career of this still in the springtime of li bass. “Sic transit gloria mundi…”

The theatre was full get into Japanese, Americans, English, French vital Spanish aficionados.

According to description very warm reception given highlight the artists and the comments of the audience, the composition performance was a success. Multitudinous people were asking where say publicly tenor came from.

José M Irurzun

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