Turin, Teatro Regio. “Le Villi” (alternative cast) – GBOPERA

Turin, #Teatro Regio, opera and ballet season 2023/24
“THE VILLAS”
Dance-opera in two acts with a libretto by Ferdinando Fontana
Music by Giacomo Puccini
Anna LAURA GIORDANO
Roberto AZER ZADA
William Wulf GËZIM MYSHKETA
Orchestra and choir of the #Teatro Regio of Turin
Director Riccardo Frizza
Choir master Ulysses Trabacchin
Direction Pier Francesco Maestrini
Scenes Guillermo Nova
Costumes Luca Dell’Alpi
Choreographies Michele Cosentino
Lights Bruno Ciulli
Turin, 24 April 2024
One of the most interesting proposals of the #Teatro Regio’s long homage to Puccini is this new staging ofThe villas”, the first operatic work by the composer from Lucca still in the orbit of Ponchielli and Faccio, is only partially convincing due to a cast that is not without its problems, while the orchestral direction and direction do not give rise to reservations.
Very nice show Pier Francesco Maestrini. The move of setting from the generic Middle Ages of the libretto to the years of composition does not clash but rather allows a refined play of literary references. The first act takes place in a Victorian pavilion where the reversed proportions seem to recall certain pages of Lewis Carroll. The second act – the most successful both musically and in terms of stage performance – is a tribute to all nineteenth-century gothic imagery from the romantic atmospheres of Friedrich to the black novel of the end of the century – one immediately thinks of Stoker but also of Gautier for certain erotic undertones #– in which the violent but intense ending also fits well, with Roberto literally torn to pieces by the Villi like Pentheus by the Bacchae while Anna bites into the heart of the traitorous lover, making him definitively hers. For once the projections are not mere accessories but contribute to the creation of a decidedly suggestive atmosphere as do the lights Bruno Ciulli. The costumes are magnificent Luca Dall’Alpi both the belle-époque ones of the first act and those of the Villas decidedly oriented towards fantasy-horror. A splendid production with which the #Teatro Regio demonstrates that it has regained the ability to produce great productions after a very difficult period.
The other strong point of the show is the direction of Riccardo Frizza. The orchestral writing is the highest quality point of the opera, the one in which Puccini’s talents already emerge most clearly. Frizza maximizes the quality of orchestral writing. The Brescia conductor’s clean gesture and preference for clear, well-defined colors are perfectly suited to this score. Frizza, however, does not limit herself to making the orchestra sound excellent – in which they are supported by the always impeccable choir of the Turin theater – but captures the most intimate expressive traits of the work. Listen to the iridescent and silky softness of the prelude and above all the colors of a lyricism tinged with regret and melancholy of the second to appreciate the expressive excavation of the direction.
The dance troupe #– very busy #– masterfully performs the elegant and theatrically effective choreographies of Michele Cosentino.
The singing company is alternating, especially in the male component. Laura Giordano (Anna) appears penalized by the large spaces of the Regio and the particular acoustics. However, she sings with taste and musicality, finding accents of touching lyricism. Her voice is homogeneous in all registers and of beautiful color. Scenically she is a convincing actress in portraying Anna’s dual nature, a girl in love and an avenging specter. He doesn’t lack vocal prowess Azer Zada struggling with the difficult and thankless role of Roberto but what is lacking is a more refined musical quadrature so that the part tends to put him at a disadvantage. Aware of his limitations, he tries to lyricize the part as much as possible, avoiding useless and dangerous forcing and often managing to save himself with intelligence. Of course, when the writing pushes – especially in high notes – the difficulties of emission and quadrature become evident.
Maybe not in the evening GYezim Myshketa. The voice, although a little clear for the role, would be appreciable, but lacks authority in the recitatives and the beautiful aria of Act II suffers from a singing that appears forced, especially in the high register. Excellent audience presence – even more so for a midweek afternoon show – and overall a convinced success. Photo Daniel Ratt