Znaniecki, Michal


FlaminioGiovanni Battista Pergolesi - Il Flaminio

Teatro Valeria Moricone, Jesi, 2010 | Ottavio Dantone, Accademia Bizantina, Michal Znaniecki, Juan Francisco Gatell, Laura Polverelli, Marina De Liso, Sonia Yoncheva, Serena Malfi, Laura Cherici, Vito Priante | Arthaus Musik

So far we’ve had two excellent productions from the Fondazione Pergolesi Spontini at Jesi that have extended appreciation of Pergolesi’s opera seria work - Adriano in Siria and Il Prigionier Superbo - and in the process shed a little light upon the practices of 18th century Neapolitan opera with their Intermezzo comedies. For anyone who has enjoyed the lighter side of Pergolesi’s work seen in these shorter pieces, Il Flaminio is a real treat. A full length 3-act commedia per musica, first performed in 1735, it’s every bit as delightful as the great Intermezzos seen so far - Livietta e Tracollo and La Serva Padrona - and, in its own way, quite sophisticated and just as revelatory as the composer’s more serious works

There is, it has to be said, nothing that appears to be exceptional about the plotting of Il Flaminio. The widow Giustina has been set on an engagement to the noble but rather frivolously-minded Polidoro, but has fallen instead for his friend Giulio, who she recognises as Flaminio, a Roman gentleman she once knew before she met her husband. Back then however, she despised Flaminio, which may account for why “Giulio” is reluctant to accept that her feelings might have changed in any way. To complicate matters - always essential in such a situation - Polidoro’s sister Agata is in love with Giulio and cruelly rejects her intended Ferdinando, but her feelings are not reciprocated by Giulio. On the sidelines, watching and intervening in the situation - not disinterestedly, since the possibility of their union depends to some extent on a resolution of these issues - are Checca and Vastiano, the maidservant of Gustino and the manservant of Polidoro.

Il Flaminio therefore still adheres very much to the Metastasian baroque opera seria situation - one not dissimilar to the one played out in Pergolesi’s Adriano in Siria - where various incompatible couples have to find their right arrangement over the course of the opera, usually on a wise ruler coming to his senses (it’s a nobleman Polidoro here), but only after a great deal of emotional soul-searching and pouring one’s heart out through anguished, repetitive arias. The difference here in Il Flaminio is that this time the situation is explored for its comic potential, playing the situation for laughs certainly and with a lightness of touch, but not to the exclusion of the finer sentiments that lie within it either. That in itself is a significant development and influential in terms of the impact the Neapolitan style would have on opera buffa, but in Pergolesi’s hands, one can also see a significant development of the writing and the scoring that goes way beyond the Baroque conventions.

The comic elements may be partly based around class issues, but the comedy in Il Flaminio proves to be rather more sophisticated than La Serva Padrona (as important to the history of opera as that work remains). Much of the humour is tied to the use of Neapolitan dialect and customs on the part of the lower classes, with obscure satirical references and musical allusions to popular songs of the time, to puppet shows and commedia dell’ arte traditions that are impossible to translate or even fully appreciate. One can at least - having been in a position to see similar situations played out in the Baroque works of Handel and Vivaldi - appreciate how the complex relationship drama is satirised by the comedy. “I forsee suffering and misery for me“, Guistina observes at the start of Act I - “Why worry?” responds her maidservant Checca, “Everything will turn out fine in the end“.

There’s only so much humour to be derived from this really though, particularly over a three-hour opera. To be honest, I lost interest in following the plot by the middle of the second act, but thankfully there’s more to Il Flaminio than mild comedy and satire, and Pergolesi’s beautiful music makes such light work of the situations and is filled with such playful invention and sophistication that there is never a dull moment. It’s way ahead of its time, Pergolesi’s handling of material we are familiar with from Handel and Vivaldi only highlighting just how much more musically advanced and innovative the composer really is above his contemporaries. It’s not just the stormy accompaniment to Giulio’s vigorous Act I aria ‘Scuote e fa Guerra‘ (”May shake and make war the ruthless wind“), or even that Pergolesi imitates the mewling of a cat in Bastiano’s Act II aria - delightful though those kinds of little touches are - but there’s such a lightness and brilliance of sophistication throughout Il Flaminio that it could easily pass for a Haydn or an early Mozart opera. It really is extraordinary.

It’s even more delightful then that we have Ottavio Dantone and the Accademia Bizantina to bring out the sparkling brilliance and delicate beauty of music that is so full of life, vigour, wit and sensitivity. The wonderful set design moreover places the orchestra behind the performers on the stage in a venue that has been reconfigured with extensions that take balcony scenes down the sides of the hall to make it even more intimate and involving. It looks great and it evidently works marvellously since the singing and acting performances are also highly engaging and entertaining. Although there are pieces written to give each of the singers the opportunity to shine, Il Flaminio is very much an ensemble piece that gives equal value to almost all the roles and - as with each of the Jesi Pergolesi releases so far - the casting and singing is perfect. Recognising that the strength of the opera is in its ensemble arrangement, the production also attempts to keep all the main figures around on the stage - along with the orchestra - even when they are not called upon to sing.

As with the previous Pergolesi releases - from both Opus Arte and Arthaus - the recording quality is superb, with a beautiful High Definition image and remarkably good sound quality. Really, it’s hard to imagine how you could improve on the performance or presentation of this rare work, a work that fully merits such a wonderful interpretation. There are no extra features on this release however, which is a little disappointing, but there is some useful background information on the work in the booklet that comes with the release. The Blu-ray is all region compatible with subtitles in English, German, French, Italian, Spanish and Korean.

CyranoFranco Alfano - Cyrano de Bergerac

Palau de les Arts Reina Sofia, Valencia, 2007 | Patrick Fournillier, Michal Znaniecki, Plácido Domingo, Sondra Radvanovsky, Arturo Chacón Cruz, Rod Gilfry, Corrado Carmelo Caruso, Roberto Accurso, Javier Franco | Naxos

The story of Edmond Rostand’s epic romantic drama ‘Cyrano de Bergerac’ (1897) should be known to most audiences from the various film versions that have been made – some of them even predating Alfano’s 1937 opera – the most notable being Gérard Depardieu’s performance as the long-nosed character in Jean-Paul Rappeneau’s popular French film from 1990, but it may also be known to more through Steve Martin’s modern updating of the role in Roxane. The story however is essentially the same, that of a man with an exceedingly large nose that disfigures his face, who believes that he is ugly and unworthy of the love of his beautiful cousin Roxane. Working closely to Rostand’s original text, Rappeneau’s film captured all the comedy, wit, romance and tragedy of the situation, retaining the verse format of the original, and did it so well that it’s impossible for anyone who knows and loves the film version not to measure up Franco Alfano’s opera against it. It has to be said that the opera compares very favourably, working so naturally that one wonders why it isn’t better known and more frequently performed.

Alfano, who is now only really known for the rarely performed Cyrano and for completing Puccini’s final opera Turandot after the composer’s death, only succeeds intermittently in finding the right tone and melody to engage the audience in the drama, but he is wholly convincing in the areas where it counts most – in the romantic expressions of love between Cyrano (acting on behalf of another man) and Roxane. The arias and duets that consolidate the nature of their love (“Sens to mon âme un peu dans cette ombre qui monte?” and “Je lisais, je relisais. J’étais à toi”) achieve a perfect expression of the highly florid nature of the romantic declarations and the underlying depth and sincerity of the sentiments with all the mastery of a student of Puccini. If it were just for these two arias alone, Alfano’s Cyrano de Bergerac does complete justice to the work, but there is great skill in how the essence of the story fits around it. The dramatic action is somewhat condensed in the opera but it retains all the essential qualities that make the work so charming and doesn’t lose a fraction of the emotional depth or spirit of the original.

It does so of course, because that is the great strength of opera, allowing expression of such elements through the music and the singing, and Alfano plays to these strengths. In the film version, I find Roxane comes across as somewhat bland, insipid and superficial, and you need to will a sense of disbelief to understand what inspires such passion in Cyrano apart from her beauty, but here she has a much more active role and is much better characterised, principally through the musical arrangements, and, of course through the singing. Here we have Sondra Radvanovsky, who conveys the full force of her character’s nature and passion through her singing, if not so well in her acting or facial expressions. Rod Gilfry is marvellous as De Guiche, actually almost making his character sympathetic and less of a moustache-twirling villain. Arturo Chacón Cruz is fine as Christian, but it’s a thankless role that has no real arias and is always upstaged by Cyrano. As Cyrano, you couldn’t have anyone more charismatic than Plácido Domingo. His French diction isn’t the strongest, but he has all the passion and charm that the swashbuckling hero demands and is in fine voice in his 121 role.

The staging at the Palau des Arts in Valencia is fine, striking a good balance between the period and a modern approach to staging it, without introducing any incongruous elements. The stage however is a little dark and the recording, even in High Definition on the Blu-ray, doesn’t enable you to see the detail and the overall impact of it all. The audio, even in lossless LPCM stereo and DTS HD-Master Audio 5.1, is also lacking, but mainly due to how it was recorded. The microphones are clearly far from the singers, as there is a lot of ambient noise and stage clatter, the singing sounding rather echoing, occasionally drowning out the rather thin orchestration but at other times being overwhelmed by it. For the most part however, the qualities of the singing and the music, and the opera itself are no less evident. Overall, it’s a slightly imperfect live recording, but an otherwise fine presentation and performance of an opera that really deserves to be better known.