Zanellato, Riccardo


MoseGioachino Rossini - Mosè in Egitto

Rossini Opera Festival, Pesaro, 2011 | Graham Vick, Roberto Abbado, Riccardo Zanellato, Alex Esposito, Olga Senderskaya, Dmitri Korchak, Sonia Ganassi, Yijie Shi, Enea Scala, Chiara Amarù | Opus Arte

Director Graham Vick and set designer Stuart Nunn, as well as the administration team of the Pesaro Rossini Opera Festival, go to great pains in interviews on the ‘Making Of’ extra feature included on this release to emphasise that their 2011 production of Rossini’s Mosè in Egitto doesn’t take sides and offers no solutions, but rather strives to present a balanced account of the impact of conflict and oppression on a population, specifically in a modern-day Middle East context. Balanced it may be, but that doesn’t mean that this production plays it safe in any way. Far from it. Vick depicts Rossini’s Biblical epic in terms of suicide bombers, terrorists, torture, self-immolation and - perhaps most controversially - styling Moses as an Osama Bin Laden figure, wielding a Kalashnikov and stirring up a Holy War against their oppressors through inflammatory video recordings.

Many people who take a very traditional view of opera would argue that Moses in Egypt should reflect the original period of its Biblical subject and that a director has no right to update it or impose a modern-day concept onto a work that it wasn’t written to express. It’s true that works can often be twisted from their original context into something that they were never meant to be, which if less than faithful can nonetheless produce interesting results. Without contradicting the intent of a single word of the original libretto here however, Graham Vick shows that there is a case for opera not to be entirely subservient to the words alone, but that it should also take into account an interpretation of what the music is expressing. Rossini’s score isn’t set in any specific period, but is abstractly aligned rather to timeless human feelings and emotions. As a director, Vick clearly wants the production of Rossini’s great work to express those sentiments in a meaningful way to a modern-day audience, and the extraordinarily powerful nature of its presentation here clearly justifies that approach.

Graham Vick - admirably in my view - is noted for taking a “community” approach to opera. It’s not an elite entertainment for a selected few, it’s not a museum for the historical representation of works that are hundreds of years old, nor is it about putting on a so-called definitive performance to demonstrate the vocal techniques of singing stars and divas, but rather it’s about viewing opera as a living artform that has something meaningful to communicate to a broad range of people in the present day. That requires the involvement and participation of the audience, and even if that’s just engagement with the issues presented, then that’s an achievement alone. In order to shake the audience out of passive reception however, Vick and set designer Stuart Nunn strive to break down the barriers between the stage and the audience in other ways. Here at the Rossini Opera Festival for Mosè in Egitto, that involves using a venue in Pesaro that isn’t a traditional opera theatre - it’s a basketball arena - and dressing it in a way (like a refugee camp side by side with a modern palace) that feels more recognisable to what an audience would be familiar with from recent events in television news reports.

Vick’s approach the 2011 Pesaro Mosè in Egitto is borne out by the nature of the work itself as an ‘azione tragico-sacra‘ in three acts. Written for the Teatro San Carlo in Naples in 1818, Moses in Egypt saw Rossini move away from his comic operas into a new period of mature works that were to some extent constrained by specific structural conventions and the demands of certain singers, but the composer managed nonetheless to attune these mannerisms brilliantly to serve the nature of the dramatic content. That’s immediately apparent from the lack of Overture in the opera and the fact that it opens instead with the ‘Plague of Darkness’ choral lament, which the director stages powerfully by having blood-stained Arabs walking through the audience, holding out photographs of friends and relatives lost in the latest bombardment/plague carried out on the word of Moses in retribution for the enslavement of the Hebrew people by the Egyptian Pharaoh, plastering the pictures and messages on walls in front of the orchestra pit. It’s a meaningful image that brings the power of Rossini’s writing home, and the same approach is used throughout, consistently and often to quite striking effect, the final scenes in particular making a unforgettable impression that underlines the relevance and importance of making the work say something about the world today.

I say “orchestra pit”, but it’s clear - and not just from the informal dress of the musicians - that the orchestra are also very much a part of the action - particularly in this production were the music carries much more than the libretto does alone. If there are any doubts about the efficacy of the treatment, the powerhouse performance of the Orchestra Teatro Comunale di Bologna will quickly put any doubts to rest. Directed by Roberto Abbado this is a sparkling, sensitive performance that captures the verve, rhythm and lyrical lightness of Rossini’s versatile arrangements. The singers in most of the principal roles on the Egyptian side aren’t heavy-weights by any means, but singers like Alex Esposito, Dmitri Korchak and Olga Senderskaya are all lyrically qualified and well-suited to the roles of Faraone, Osiride and Amaltea. There’s a little more personality and weight required however for the parts of Mosè and Elcia, both in terms of their vocal demands and the necessity of having the strength of personality to bring together the political and human elements that combine in the drama, and those demands are more than capably met by Riccardo Zanellato and Sonia Ganassi. Excellent and noteworthy performances from Yijie Shi (Aronne/Aaron), Enea Scala (High Priest Mambre) and Chiara Amarù (Amenofi) really contribute to the overall power and quality of the work and the performance as a whole.

The 2011 Pesaro Mosè in Egitto isn’t pretty to look at, but it’s not meant to be. It does make some controversial references, but there’s nothing here that can’t be justified as a genuine reflection of human nature and how people live in the world today. That might not be what you expect to see in an opera performance of Moses in Egypt, but the brilliance of the production here is that it works both ways, drawing inspiration from Rossini’s remarkable score, finding a meaningful modern way to bring its themes to life, while the same time injecting its ancient Biblical story with a heavy dose of reality. It’s a testimony to Rossini’s brilliant writing and Andrea Leone Tottola’s poetic libretto that, musically and dramatically, Mosè in Egitto is more than capable of bearing it. If it’s the intention of the Rossini Opera Festival to look afresh are both familiar and rarely performed works by the composer in order to reevaluate qualities and strengths that are clearly there but which have been buried under decades of operatic mannerisms, then this kind of production achieves that most impressively. Stripped right back to its expressive power, this 2011 production of Mosè in Egitto is consequently something of a revelation.

As with all the recent Pesaro Rossini releases, that revelation extends to being able to see and hear these performance presented so well in High Definition on Blu-ray. Outstanding image quality in full-HD 1080/60i, detailed and beautifully toned high resolution audio mixes only enhance the efforts of the performers. Mainly due to the unconventional nature of the venue, radio mics are used, presumably only for recording purposes, but the mixing is well done and comes across naturally here. As well as a booklet that covers the production and gives a synopsis, there is a Cast Gallery and a 25-minute long behind-the-scenes ‘Making Of’ with interviews that explain the intentions behind the concept very well. The BD is region-free, with subtitles in English, French and German.

PuritaniVincenzo Bellini - I Puritani

De Nederlandse Opera 2009 | Mariola Cantarero, John Osborn, Scott Hendrix, Riccardo Zanellato, Fredrika Brillembourg, Daniel Borowski, Gregorio Gonzalez | Opus Arte

Although it’s set during a period of considerable interest in English history - the Interregnum that takes in the conflict between the Cromwell’s Roundheads and Royalists loyal to the Charles I and the Stuarts - the libretto for Bellini’s I Puritani makes little use of the historical circumstances but rather, not surprisingly for an Italian bel canto opera, merely uses it as a backdrop for a story of romantic intrigue. If the libretto follows a well-worn generic line in this respect, I Puritani - Bellini’s last work before his early death - is however rather more interesting musically, having more in common with Verdi than Rossini or Donizetti and showing the composer at his most imaginative and inspired. Despite the weaknesses in the libretto, the opera is not just a situation for a series of arias and cabalettas, but shows rather greater musical attention paid to the characterisation and situation, and it’s particularly notable for its strong chorus work.

It’s fortunate then that there is great emphasis and attention paid to this musical aspect in the De Nederlandse production from 2009, but effort is made in other areas of the production in an attempt to make the work a little stronger and more coherent that it might otherwise be. There’s not a great deal one can do with the limitations of the plot, which amounts to little more than a historical romance, and a not very imaginative one at that. The central conflict at the heart of the work is less that of civil war opposition of ideologies, religion or allegiance to the crown as much as a romantic tussle for the hand of Elvira, the daughter of a prominent puritan clergyman. Her father has bowed to her own wishes to marry her beloved Arturo (Arthur Talbot), despite having promised her to Riccardo (Richard Forth).

Just before they are about to be married however, Arturo - who has royalist sympathies - takes advantage of an opportunity to rescue a prisoner about to be executed when he recognises her to be the queen, Enrichetta (Henrietta). Riccardo lets them escape, happy to see his rival disappear and be labelled a traitor, but Elvira is more devastated by what she sees as a betrayal, since Arturo has absconded with a prisoner who uses her own wedding veil as a disguise to help her escape. In the great operatic tradition, she of course goes mad, and her delusion persists when Arturo returns and tries to explain his actions and reaffirm his love for her, causing her to be responsible for his death.

The historical setting heightening the notions of romantic betrayal to the level of melodrama, replete with obligatory mad scene for the leading diva, I Puritani would seem to designed to fit the standard bel canto template, but Bellini’s score is far more varied and darker in tone than is customary, and the vocal writing isn’t there merely to show off the range of the soprano. Even so, it’s still a difficult opera to make work dramatically, and it does have singing challenges of its own. The apparent weaknesses and insubstantiality of the plot are however given something of a boost here by conductor Guiliano Carella returning to the original Paris score of 1835 and reinstating a number of scenes - some of them quite significant - that fill out the detail in the characterisation, and demonstrate the qualities of Bellini’s writing even further. Assisted by a very strong visual concept of the set designs by Es Devlin and by the stage direction of Francisco Negrin, the De Nederlandse production would be in contention for one of the best productions of this work but for the singing, which is good in most parts, but far from the standard needed to really lift this work to the level that is aspired to here.

Visually, the production design strikes an excellent balance between period (or theatrical period) in the costumes and a more modern conceptual approach to the stage design. Made up of rows of sheets that in Act I create ramparts for the soldiers in one scene before rolling smoothly into another where they show a committee of puritans in rows, there’s a wonderful sense of fluidity and continuity created that establishes the somewhat confusing political context and the drama in the most effective and eye-catching manner possible. Act II and III by contrast are relatively static, but again find strong visual ways to represent both the court that pronounces Arturo’s fate and reflect the horror that has afflicted Elvira’s mind. Conceptually, emphasis is also given to words, the steel sheets marked by bullet-holes and rivets that actually form a Braille background (the words of the Bible, I believe, in Dutch), with projections of words of passion and madness from the libretto projected in the latter scenes.

Despite efforts to make this a dramatically strong presentation, the singing isn’t quite as consistent. Mariola Cantarero is a little high and light for the dramatic range required for Elvira and consequently doesn’t always make the mark. She’s at her best in Act II, in her scenes of mad delusion, delivering a lovely ‘O rendetemi la speme‘, but her acting is limited elsewhere, and her high notes tend towards a screech. John Osborn is a terrific lyrical tenor who I like a lot, and he is excellent here throughout as Arturo, but he seems to me to find the role dramatically limiting and doesn’t really succeed in bringing the character to life. There’s a little more to get your teeth into in the role of Riccardo, but Scott Hendrix has a tendency to chew the scenery, and considering it’s made of steel here, that’s quite a mouthful. He gives it everything of course and sings the role well, but there’s more aggression here than art. The other roles are similarly variable never quite entirely holding it together either dramatically or vocally, although Fredrika Brillembourg is the best here as Enrichetta.

If the main roles don’t stand out as they might, the support they are given by the Chorus of the De Nederlandse Opera is superb, as is the work of the Amsterdam orchestra, who deliver an impassioned performance that is attuned to the dramatic content, directed from the pit by Guiliano Carella who clearly has a lot of love for the work and very specific ideas about how it should be presented. That passion comes through in the extra features on the Blu-ray disc, which look at the rehearsals and consider the variations of the Paris version of I Puritani in interesting detail. The quality of the recording is also of a very high standard, with a clear image and strong, detailed High-Definition audio tracks in PCM Stereo and DTS HD-Master Audio 5.1. The BD is all-region, BD50 dual layer, 1080i full HD, with subtitles in English, French, German and Dutch. The booklet contains an essay on the work and a full synopsis.