Every time I witness a Troubadourand I already wrote it a few years ago, I can’t help but think of a memorable review signed by Rubens Tedeschi and published in L’Unità the day after the inauguration of the Carlo Felice in Genoa, in 1991. So I sit down and immediately smile, regardless of the spectacle that appears before me. In addition to inviting anyone to search for the writing, unmatched in style and irony, every now and then it is convenient for me to steal a few phrases from Tedeschi here and there, which often adapt to the various performances of Verdi’s opera or which allow me to make a comparison. I think of “the director discovers that Il Trovatore is a dark opera” and what followed, with some rather sarcastic clarifications, on how the director of the time had wanted to highlight this inscrutable characteristic to the unaware public. Well, at the beginning the same thought crossed my mind in front of the scene of Stephen Monti and of Allegra Bernacchionia bit too monochromatic, dark and static, which however has then partly redeemed itself with some appreciable expedients that have mitigated this sense of visual and psychological emptiness and that have prevented the sinking into the “abyss of boredom” of Germanic memory. The suggestive play of shadows is an example (Piacenza Game Life Theatre) – which perhaps could have been enhanced more – or the large full moon to interrupt, in fact and symbolically, the dominant darkness. For the rest, in fact, everything remains a bit still and monotonous, with the dry tree and the same panels (which look like columns) that slowly move back and forth, and based almost exclusively on symbolism and psychological evocations; which would also be fine if the direction dared something more and did not abandon the singers to their fate, a bit disoriented in the stage space. There are however some interesting flashes, including Azucena’s scene, more characterized also by the lights of Fiammetta Baldisserriand some “mass” moments with the choir and above all with the mimes who enliven the scenes.
The orchestra, in the “pit” of the Priamàr, does its duty, directed with energy by John DiStefanoalbeit with some detachment here and there from the stage, especially in the choral scenes, and with some inevitable inconvenience due to the open-air performance (Toscanini teaches)also with regards to reception by the public (and us).
But let’s get to the protagonists, who, between lights and shadows (excuse the joke!), have graced the stage of the Prima Savonese; young performers, with voices still to be sorted out, but who possess valuable characteristics that will be able to progressively emerge and define themselves as they continue their artistic journey. Claire de Monteil (Leonora) has beautiful musicality, is capable of refined nuances, but is less punctual in agility and still a little immature in the character; ditto for My Kim (Conte di Luna), who still lacks the Verdian depth despite a voice with an interesting timbre and who therefore has his cards to play in the near future. More or less the same can be said of Matthew Desolebeautiful musicality and good management of emissions especially in the central register, good stage intentions, but some difficulty and forcing in the high notes, with a partially weakened voice and a timbre still a little to be “rounded”. Better Victoria Pitts in the role of the gypsy, with a more defined voice and timbre and greater homogeneity, although without the “traditional” physique du rôle of Azucena. Good Yonghen Dong (Ferrando). Completing the cast Vincenzo Maria Sarinelli(Ruiz), Samantha Sapienza (Ines) and Luis Javier Jimenez (An old gypsy). Effective, despite the partial discrepancies mentioned above, the Goldoni Theatre Chorus prepared by Maurice Precious.
A pleasant evening in the square of the Fortress and appreciated by the public, always fond – and rightly so – of the tireless Savona opera house. In addition, and let’s make it clear, it wasn’t raining! Which, considering the history of summer shows of thePlayful Work and the Ligurian weather of recent times is undoubtedly miraculous.
The review refers to the Premiere on June 27, 2024.
Barbara Catellani
