A Turning Point in Music and Vision 20 August

A Turning Point

GIUSEPPE PENNISI was at the
2013 Puccini Festival at Torre del Lago
for a new international production of 'Tosca'
and a performance of 'Rigoletto' with young singers

I make an annual trip to Torre del Lago, where Giacomo Puccini lived almost his entire life. In this pleasant village on the shore of Lake Massaciuccoli, a very modern 3,200 seat open air theatre has been built (with a smaller 600 seat auditorium inside its structure) and every year a festival is held. It is at its 59th edition. Initially the festival produced only Puccini's operas. Its contents have been gradually broadened to include other composers and to use the theatre also for ballet, musical comedies, rock operas and concerts. After a period of difficulties (Financial Stringency, 9 August 2012) and help from the Far East where Puccini is revered (Asian Aid, 12 August 2011), the festival has had a turning point. In spite of the severe economic and financial problems facing Italy, the Government decided to provide an annual subsidy. In 2013, the program extends from 12 July until 23 August. At its core are five operas; ancillary activities include mostly ballet, concerts and 'modern musical theatre' such as the now classic Jesus Christ Superstar.

I attended the 26-27 July 2013 performances for two new but quite different productions: an international staging of Tosca and a Rigoletto conceived for young singers and for Italian provincial theatre.

A scene from 'Tosca' at the Puccini Festival. Photo © 2013 Giorgio Andreuccetti. Click on the image for higher resolution

The international production of Tosca meant the real turning point. The Puccini Foundation co-produced it with the Valencia Palau de les Arts Reina Sofia, Montecarlo Opéra, the Turin Teatro Regio and the new Tianjin opera house -- this production of Tosca has been selected to inaugurate the 1,600 seat theatre of a 16 million resident town in Northern China, Tianjin. The differences in size and in stages pose major problems to such co-productions. Montecarlo Opéra has a heavily decorated nineteenth century theatre for an audience of some six hundred, whereas the others, theatres with capacities ranging from 1,600 to 3,200 spectators, are very different in dimensions and design. Stage director Jean-Louis Grinda and set designer Isabelle Partiot-Pieri acquitted themselves very skillfully of this task: the sets are made of a few constructed elements together with projections and lighting.

A scene from 'Tosca' at the Puccini Festival. Photo © 2013 Giorgio Andreuccetti. Click on the image for higher resolution

For a Tosca designed to travel to several countries and indeed continents, the dramaturgy must be quite traditional with the view of being appreciated by a diverse audience. Thus, with the help of the rich costumes of Christian Gasc, the drama is clearly set in the baroque palaces and churches on 16 June 1800 when contradictory news about the outcome of the Marengo battle reached Rome and ignited a day of passion and tragedy.

Both conductor Alberto Veronesi and the Puccini Festival Orchestra are quite experienced. The late American musicologist Paul Hume referred to Tosca as a 'guts and blood' drama, and this requires important voices for the three major roles and a large number of minor parts. On 26 July, the opening night, Marco Berti was Mario Cavaradossi, a generous tenor with a clear timbre, excellent phrasing and volume to spare. He was applauded open stage after Recondita Armonia and E Lucean Le Stelle, even though, also due to the humidity of a hot night on the banks of the lake, he was clearly tired at the end.

Marco Berti as Mario Cavaradossi and Norma Frantini as Tosca at the Puccini Festival. Photo © 2013 Giorgio Andreuccetti. Click on the image for higher resolution

Norma Frantini was a very effective Tosca, both sensual and obstinate. She handled the traps of Vissi d'Arte quite well, especially rising from 'mezza voce' to 'dramatic acute'.

Norma Frantini as Tosca at the Puccini Festival. Photo © 2013 Giorgio Andreuccetti. Click on the image for higher resolution

The evil Baron Scarpia was skillfully rendered by a young and promising Gabriele Viviani.

Gabriele Viviani as Scarpia in 'Tosca' at the Puccini Festival. Photo © 2013 Giorgio Andreuccetti. Click on the image for higher resolution

Rigoletto's dramaturgy is entrusted to a very experienced stage and television director, Renzo Giacchieri, and the revolving set (to speedily change the different scenes of the drama) has been prepared by Alfredo Troisi. They are efficient and effective, albeit hyper-traditional; they recall TV dramas of the nineteen eighties.

A scene from Verdi's 'Rigoletto' at the Puccini Festival. Photo © 2013 Giorgio Andreuccetti. Click on the image for higher resolution

However, it is not a wholly Italian show. The conductor is the Canadian Boris Brott, a longtime assistant to Leonard Bernstein and a very experienced professional. The title role was sung by David Cecconi, not very elegant in phrasing but with the big volume required for a large open air auditorium.

David Cecconi in the title role of Verdi's 'Rigoletto' at the Puccini Festival. Photo © 2013 Giorgio Andreuccetti. Click on the image for higher resolution

The real surprise came with the young singers in the roles of the Gilda and the Duke. Gilda was Ekaterina Bakanova, a delightful lyric soprano who sang an excellent Caro Nome. She is a name to remember as she has a brilliant career ahead: in September she will be Traviata at La Fenice in Venice in a Robert Carsen production.

Ekaterina Bakanova as Gilda with David Cecconi in the title role of Verdi's 'Rigoletto' at the Puccini Festival. Photo © 2013 Giorgio Andreuccetti. Click on the image for higher resolution

The Duke was supposed to be Francesco Demuro, a young and upcoming tenor often reviewed (eg New Tricks?, 19 January 2013) but he called sick. Thus, he was replaced at the last moment by his cover, Angelo Fiore, a very young tenor who had not been at any rehearsal of the production. He was, of course, quite nervous with the rather difficult opening aria Questa o Quella, but as the performance went on, he gained strength. He is, no doubt, a born actor. He has a clear voice and effective emission. He is very promising, and should follow the right repertory without taking on heavy roles too early.

Copyright © 20 August 2013 Giuseppe Pennisi,
Rome, Italy