Week-long tour of Milan theatre “La Scala” in Moscow ended. On the historical stage, the orchestra, chorus and soloists of the world’s most famous Opera house three times played Verdi’s Opera “Simon Boccanegra”, twice performed the Verdi “Requiem”, and once performed a concert program of Italian music (Verdi, Rossini, Cherubini). Plays and concerts were accompanied by loud applause and shouts of “Bravo”. However, in the professional environment the performances of the Italians much success not had. Observer “MK” with disappointment stated the low quality of the presented products.
Literally 10-15 minutes to develop his musical act of the Opera “Simon Boccanegra” in consciousness crept dangerous idea: so full! Whether in the case before us, the soloists of the famous theatre of Milan? Have happened with them trouble? Suddenly they are poor, go somewhere, robbed and confused by the cold of the Russian steppes, and their place on the stage of the Bolshoi theatre was taken by the intruders?
But no. All the truth. Leo Nucci in the party of Simon, the once-celebrated singer. Today — alas, the old man, shaken voice, with “entrances” to virtually every sound, with inadmissible glissandoing in the race, lost the ability of singing in mezzo forte. Immense Fabio Sartori in the role of the lyrical hero Gabriele Adorno… We already weaned from such textures, which can be forgiven only for the wonderful voice. But there is here a wonderful voice: he “covers” hall — certainly, but nothing more. Poverty, harshness of tone, no charm. Carmen Giannattasio in the role of Amelia/Maria… Also singing loudly, but again: the tone is devoid of beauty, cantilenas, the breath is short, the top notes is highly questionable.
About the production of Federico Tiezzi have nothing to say. And it’s not that it is banal and devoid of radical directorial notions. It might be a good idea: it’s better to watch the show without notions than with silly notions. It’s boring, a complete lack of interest of the Director to the artists who (and what else can they do?) work on the stamps and puzzled just how loud to sing. Attempt to switch on the orchestra a little that gave. Maestro Myung-wung Chung, of course, was conducted by. Still, the score of “Simon Boccanegra” — this is not the music, which involves distraction from the singers and focus on the band. Moreover, because the orchestra was far from perfect: copper kekovole, and violin played sloppy top part of the bow on the piano. Came out not so quietly, how dirty.
To go after that “Requiem” is an absolute musical masterpiece of all times and peoples (unlike “Simon”, which, of course, good but not the best Verdi Opera), was just terrible. And for good reason. Only in the moments when sounding orchestra under the baton of Riccardo Chailly (here and in brass, and woodwinds proved to be much more focused and qualitative) and the choir and soloists of the “rest”, there is music. The entry of the soloists truly meant the onset of the Dies Irae (day of wrath): everything by. Here, the Duo mezzo and soprano Agnus Dei — there is a singer singing in an octave, and it is very beautiful when sung well. But Maria Jose Siri and Daniela Barcellona couldn’t sing well. In the soprano parts in the Requiem many divine places where the upper notes sound on the piano… They should be angelic. Not the hoarse rustle of the dry grass. Well, the biggest thrash metal occurred in the fragments of the a Capella ensemble when the votes of soloists without orchestra sounds. It was just unclear what it’s for music, some atonal mess. Again surprised the strings. Is there a membership before Offertorium — unison cellos. Did not work unison does this. And for a good orchestra bad manners such discordant unison.
The audience shouted “Bravo”. However… this was a Specific audience: diamonds, Armani suits and Brioni, instantly lights up the monitors gadgets in the intervals between paintings… the Tickets were very expensive — 10 to 20 000 rubles and more. Such “RR” able to pay unless the inhabitants of Rublyovka. Which, of course, always ready to adequately assess the visit of a prestigious, “name-brand” (like their costumes) activities.
That somehow toured La Scala. What is it? Slipshod attitude to the tour in the “provincial Russia”? An unfortunate accident? Or a reflection of the real state of the theater today? Perhaps it is time to go to Milan — to check everything is in place.