Piermarini hall packed and evening with a festive atmosphere in Milan for the highly anticipated concert which saw as protagonists two of the singers currently most sought after by theaters around the world, Lisette Oropesa and Benjamin Bernheim, well accompanied by maestro Marco Armiliato conducting the ‘Orchestra of the Accademia del Teatro alla Scala. An evening entirely dedicated to opera and divided into two parts: the first dedicated to the Italian production, the second to the French one.
Lisette Oropesa, dressed splendidly in a long white dress, later replaced in the second part of the concert by a red one, dominates the scene with her beauty and her bursting personality that shines through in every look, in every gesture, in every smile. Her very strong sense of theater allows her for each aria, which is not a simple operation within a concert, to enter into full harmony with the different characters she embodies, with their psychology, with their feelings, showing, if there were any still needed, as the quality of singing is always also conditioned by the interpretive ability of the artist.
The light opera voice is warm, but at the same time brilliant and luminous, the technique impeccable, free of any flaw, the legate magnificent, the variety of accents sublime.
And here we go from the brilliant initial Adina to a poignant Gilda, passing through the aria “Dell’infame banquet” taken from The robberswhich is resolved with sculpted high notes, but also by blending virtuosity and colors in such a way as to generate a palpable tension in the room.
The second part of the evening in which the protagonist reaches her interpretative peak is also splendid, as well as in the difficult “Aria dei jewels” by Faustin Isabelle’s aria “Robert, toi que j’aime” by Meyerbeer during which all her interpretative ability explodes in an explosive way.
TOhis side Benjamin Bernheim, certainly more suited to the refinement of the French repertoire than the Italian one, reveals an instrument with a clear, clean timbre and precious colors. During the first part of the concert the tenor embodies an exuberant Nemorino and a passionate Duke of Mantua, but unfortunately he does not shine in the performance of “Recondita armonia”, which ends up appearing rather generic, as also happens with the only encore granted: “O soave fanciulla” taken from La Boheme.
Pulsating with tension, however, is the magnificent “Je crois entendre encore” from Les pêcheurs de perlesin which Bernheim, although perhaps not shining for clarity in the high notes, reveals himself to be a master in overwhelming the spectators with his skillful use of half-voices, which are so vibrant, so intense, so fitting with the dreamlike atmosphere of the piece to be pushed the audience to give a real ovation.
Also of the highest level is the performance of “Je suis seul” in which Des Grieux converses with Manon, best interpreted with great frown and confidence.
The direction of Marco Armelliato who knew how to move well within the varied program, as well as getting the best out of the very talented Orchestra of the Accademia del Teatro alla Scala, which was truly in amazing form.
A special mention undoubtedly goes to the solo cello who, during the performance of the Sinfonia da The robbers, demonstrated, despite his young age, that he possesses a technique of the highest level, interpreting the score with an uncommon virtuosity. The audience present in the room gave him very warm applause, both at the end of the speech performanceand at the end of the concert.
The review refers to the concert on April 29, 2024.
Simone Manfredini
