A warm success with the public greeted the debut of the new production of the diptych at the premiere Rustic cavalry And clowns which Coccia di Novara brought to the stage for three performances in a show directed by Matteo Mazzoni and to the musical responsibility of Fabrizio Maria Carminati.
The director’s interpretation placed the two works in the tradition, making extensive – but fortunately not reckless – use of video projections created by video designer Luca Attilii which, on the fixed scenes of Matteo Capobiancothey created the illusion of an underground quarry (which became an existential metaphor in Cavalry) and a Calabrian fishing village enlivened by the typical bright Mediterranean colors (clowns).
Even though we do not particularly like this technological expedient, which is now fashionable and useful for creating scenic effects that would otherwise be impossible even from an economic point of view, we recognize that the setting has found atavistic and at times bucolic tones (during the famous Intermezzo) in Cavalry and Mediterranean in clowns. Mazzoni oversaw an acting of the characters appreciable for expressive naturalness, skilfully disengaged even in the frequent movements of the choral masses (here the willing Schola Cantorum of Saint Gregory the Great prepared by Alberto Sala and the disciplined Children’s choir of the Coccia Theatre educated by Paolo Beretta). The timely costumes made by Roberta Fratini have suggested a time frame of the end of the 19th century.
Fabrizio Maria Carminati, together with the precise Italian Philharmonic Orchestra, guaranteed a reading of a certain artistic level of the two works: the direction, carefully coordinated, was characterized by colours, facets, constant attention to the stage and emotional involvement. In addition to this, Carminati’s solid experience made up for – especially in Pagliacci – some of the cast’s weaknesses and shortcomings.
Cristina Melis, a scenically authoritative Santuzza, realistically embodied the moods of Turiddu’s betrayed and vengeful wife. From a musical point of view, however, we perceived an opacity of sound from the singer, especially in the medium and high register, which weakened the artist’s communicative effectiveness.
Turiddu di is well defined in his youthful and daring character Zizhao Guo. The Chinese tenor has shown that he has a confident and generous voice, however his expressive refinement still needs to be improved.
Marcello Rosiello (performed in the double role of Alfio in Cavalry and Tonio nei clowns) was the interpreter who convinced us the most; in fact, the artist has a resolute stage presence and a mature and well-defined musicality.
Fully appreciable Giorgia Gazzola in the role of Lucia e Mariangela Marini in Lola’s.
The company’s results were less happy clowns. Here, in the role of Silvio, we had the opportunity to listen Andrea Piazza, a baritone who, although equipped with a beautiful timbre, still seems weak from a technical point of view. Besides some inaccuracies in Nedda’s aria,
Alessandra Adorno it showed a certain harshness of emission, especially in the high register. Definitely inflected in the higher notes and the voice is quite oscillating Gustavo Porta as Canio. Good Christian Collia (Peppe), Luigi Cappelletti (First farmer) e Mino Boscolo (Second farmer).
The review refers to the premiere of May 10, 2024.
Lodovico Buscatti
