La Prima della Scala live with the comments of our critic
It goes on stage today on Rai1 from 17.45 la Before the Scala, Macbeth by Verdi
interpreted by Luca Salsi, Anna Netrebko, Francesco Meli and Ildar Abdrazakov, names now well known to the public of the Sant’Ambrogio Scaligero because they have all taken part in it on different occasions. Their performances are directed by Riccardo Chailly at the head of the house orchestra. While the direction of Davide Livermore. Corriere.it will follow the show, tragedy in four acts, minute by minute, with the argued comments of our critic, Enrico Girardi.
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21.55 Twelve minutes of applause, but some good news for director Davide Livermore
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21.45 The final finale, with the recovery of Macbeth’s death scene, confirms everything we have heard so far. Macbeth level. Applause yes, no triumph!
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21.25 The role of the sovereign in the throes of hallucinations is naturally not suited to Netrebko’s vocality but the Russian soprano gives a lesson in professionalism, technique and sensitivity that are only to be praised, despite some not perfectly in tune notes. Applause
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21.16 Here is the topical scene of sleepwalking. Anna Netrebko plays everything.
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21.12 the moment of Francesco Meli who in “Macduff’s Scene and Aria” shows off beautiful colors and a clean and musical phrasing, in addition to the due tenor ring. The cabaletta also did well, heroic but not bandy.
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21.05 The introduction of the fourth act the wonderful and heartbreaking chorus “Patria oppressa”. Here, too, Chailly does not let go but controls times, colors and dynamics in a severe way. Remarkable discipline of the choral workers. Applause
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21.00 The final part of Finale III sees Macbeth and the Lady together again: a duet in which Salsi can exploit his large volume of voice while Netrebko struggles, while ensuring what he owes. Now last act can begin ..
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20.44 In the capital scene of the apparitions that opens Finale III Luca Salsi finds convincing accents and a praiseworthy declamation both in the “piano” and in the “forte”.
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20.37 The dances written for the Paris Opera seem more told (in the sense of an inner action) than danced in a traditional way. Ezralow’s choreography is excellent in this sense. Very good Chailly and the orchestra!
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20.30 After a not irresistible incipit, the choir of witches makes a good impression in “Three times meow”!
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19.36 The show deserves a speech to s. I will limit myself to saying that supertechnology here is an instrument of an ultimately illustrative interpretation. Not of concept! Interval time. See you in the third act.
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19.34 Boarding school, vision and finale The fundamental segment of the work. a boarding school of ghosts and Chailly’s reading underlines it well. Missing for the moment in which so much tension finds its outlet. This disciplined Salsi struggles a little more than usual.
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19.18 After the assassins the great moment of Banco, which Ildar Abdrazakov exploits very well because he shows off an intense and mellow declaimed style. Beautiful beautiful “As it falls from heaven”! And its not screamed high notes are beautiful. Too bad his character has to die so soon ..
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19.10 Moment of truth for Anna Netrebko who faces the fearsome “The light languishes ..”. The initial meditation seems more subtle than interpreted, but then the Russian soprano finds a certain intensity in the violent exclamations that follow. Just cheers now.
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19.00 Nothing is enough to make the wonderful Finale I a band segment. But it doesn’t happen. Indeed, the sense of dismay for the death of Duncano touching and vigorous but elegant the reaction … How beautiful “Your anger” !!! 100% green! Well the Chorus, powerful but not coarse.
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18.56 In the Grand Scene and Duet, Chailly maintains an entirely internalized tension that helps the spouses’ vocality to remain in the same psychological dimension. Netrebko now better!
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18.42 Good that the offstage march arrives “smooth”, without the vulgar heaviness of certain performances of the “first Verdi”! The dialogue between the spouses is effective in its bitterness. Now comes their Duet ..
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18.37 First Cavatina of the Lady. Unmemorable debut, it seems that Anna Netrebko tries to darken the tone .. The voice “dances” a bit but when it can “bind”, we hear the Netrebko we know. Better in the cabaletta than in the cantabile that precedes it .. applause and some buu.
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18.25 Marked contrast of tempos in the large n.2: introductory segment in which the duet Macbeth-Banco stands out, careful to make the dialogue darker and more subtle than stentorian. On stage a triumph of skyscrapers that are reflected in each other. Checked out the final witches choir.
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18.17 There is nothing witchcraft in the much recited choir of witches.
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18.11 Open scene prelude showing a murder (by Duncano?) In advance. Very soft sound in the orchestra …
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18.04 Macbeth. Long applause to President Mattarella, with many requests for an “encore” … now the anthem of Mameli … even with emotion. The audience sings ..
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December 7, 2021 (change December 7, 2021 | 22:03)
© REPRODUCTION RESERVED
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