Orlando Furioso at the Teatro Filarmonico in Verona – News

The Arena of Verona hosts a famous Festival in the summer, the rest of the season of this Foundation taking place in the Philharmonic Theater located just 200 meters away, and which offers a complementary program, such as this baroque opera by Vivaldi:

For three hours, Vivaldi thus remains faithful to his ideal of marrying richness and arabesques, vocal and orchestral, all resonating with the typically Baroque wonder of sparkling costumes (Giuseppe Palella) and theatrical machines, between stories of war and love. . This staging by Fabio Ceresa thus continues its Italian journey, after the Festival della Valle d’Itria in Martina Franca in 2017 and its performance the following year at the Malibran Theater in Venice.

Massimo Checchetto’s scenography draws a space where the abysses of the sky and the ocean meet, where everything is reflected. Archaeological elements in the foreground recall the ancient origins of the drama, in the same stellar material as the moon revolving in the center of the stage to bring the golden shell witch into the palace.

The lights by Fabio Barettin make the atmosphere even more fascinating. The colors tint the “golden cave” with orange, red, green. Purple gradually fades into midnight blue, reminiscent of the abyss of the sea. Fantasy rocks with drama in a crescendo of red, that of madness and revenge. Choices that dialogue with the innumerable chromaticisms of the complete costumes (combinations of ample dresses, inlaid bodices and armor, with helmets and bracelets) recalling the whirlwind of colors of the poem.

The Arena Foundation Orchestra (on modern instruments but with two harpsichords and theorbo) is conducted by Giulio Prandi with an almost “furious” approach, rich in color and vitality, magnetic and theatrical through music. From the opening, the lyricism of the Orchestra transports the audience to Venetian colors and this long Baroque tradition (especially since the score here is given in a critical edition, that of Federico Maria Sardelli). The performers carefully follow the movements of this very varied direction, which is somewhat pressing even in the face of the complexities of the score.

The few (but significant) interventions of the choirs prepared by Ulisse Trabacchin retain their dynamic and lively presence, that of a harmonious and orderly crew.

Teresa Iervolino (who made her debut at this Teatro Filarmonico in 2012 with Pulcinella by Stravinsky and made his debut last year at the Arènes taking the role of Fenena) embodies Orlando by capturing his vocal nuances, expressive and pathetic, then heroic and madly in love. Its bass, marked timbre, with refined accents, asserts itself even in high-speed parts.

Sonia Prina (who was Orlando in this production at Martina Franca and Venice), plays Ruggiero here. Its words flow like a melodic stream, in the best-known aria “Only from you my sweet love“accompanied by a flute solo (Pier Filippo Barbano), which arouses several minutes of applause. The vocal timbre, dry and agile, is touching in the bass of the contralto.

Accustomed to baroque and chamber colors, Lucia Cirillo (Alcina) presents a contained mezzo-soprano but with an enchanting stage presence, more convinced in the melancholic pages pushed by a driving vocal force. Sure in her movements, agile even despite voluminous and opulent clothes, she retains the mischievous and funny character.

The pure and fresh vocal line distinguishes Francesca Aspromonte (Angelica), highlighting in particular the aria of the shining star, but also its lullaby with limpid lyricism.

Chiara Tirotta is a delicate and poignant Bradamante, interpreting the pain of loss both scenically and vocally (reminiscent of the richness of her repertoire ranging from Puccini to Verdi and Rossini).

Laura Polverelli (Medoro) also has a rich repertoire, reflecting her harmonic amplitude and her audacious and spontaneous vocal effects.

The only man on the solo stage, Christian Senn embodies Astolfo with a measured but elegantly expressive and, if necessary, even incisive output.

The public fascinated by these machines and spells make this fascinating spectacle of Italian Baroque splendor a great success.

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