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A Voices Opera
Gaetano Donizetti's 'Pia
de' Tolomei' in Pisa,
but on its way to Charleston, South Carolina,
reviewed by GIUSEPPE PENNISI
Quite often, Italy's
smaller and least Government-financed teatri di tradizione
(traditional theatres) offer more interesting discoveries than the
important lyrical foundations. The former are about thirty old opera
houses in cities that were once capitals of communal republics, and are
full of works of art. They are required to balance their accounts. The
latter are twelve large houses, often full of debts, in major cities such
as regional capitals.
A new revealing
reference of this point is Donizetti's Pia
de' Tolomei produced by Teatro Verdi in
Pisa — a lovely house with rows of boxes and elegant frescoes — as a
joint venture with the theatres of Livorno and Lucca — where it can be
seen and heard until 27 March 2018. Next Spring it will be a key event of
the Spoleto Festival in Charleston, South Carolina. As readers of
this magazine know, it is not unusual for teatri di tradizione to
join efforts with analogous opera houses in Germany, France or Spain. It
is, however, the first time that one of their productions has been
accepted by a major American
festival. I saw and heard the opera on 14 October 2017, the
opening night of the production.
A scene at Pia's house in Act I of Donizetti's 'Pia de' Tolomei' at
Teatro Verdi di Pisa. Photo © 2017 Imaginarium Creative Studio. Click
on the image for higher resolution
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Pia de' Tolomei is an opera by a mature Donizetti, composed when
Verdi melodrama was changing the Italian operatic
landscape. There are two versions, with several changes in some parts of
the truculent plot: they were both premiered in 1837, in Venice and
Senigallia. It disappeared from the opera houses after a few years. In
2005, La Fenice attempted a rediscovery; the performances were successful
and a good CD and DVD were produced, but no other opera house took up the
task. Thus, Pia de' Tolomei is mostly known through a few verses
from Canto No V of Dante's Purgatory.
From left to right: Claudio Mannino as Lamberto, Francesca Tiburzi as
Pia and Silvia Regazzo as Bice in Act I of Donizetti's 'Pia de'
Tolomei' at Teatro Verdi di Pisa. Photo © 2017 Imaginarium Creative
Studio. Click on the image for higher resolution
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Two factions are
fighting for power in Siena in the thirteenth century. Pia is married to
Nello, the Siena podestà. They love each other, but Nello's cousin Ghino
is also attracted by the woman. Ghino spreads the 'fake news' that Pia
has a lover. Some servants have heard her talking with a young man (Rodrigo) in
her bedroom at night; in fact the man is her brother, who she had helped
escape from the dungeon where Nello had him thrown because Rodrigo is one
the leaders of the opposing faction. Nello attempts to make Pia confess her
adultery, and has her jailed. Ghino attempts to have sex with her as a
price to pay for an escape; of course, she turns the proposal down.
During a fight between the two factions, Ghino reveals his crime. It is
too late. Nello has ordered a servant to slowly poison Pia. Nello arrives at her jail when
she is dying.
Marina Comparato as Rodrigo in Act I of Donizetti's 'Pia de' Tolomei'
at Teatro Verdi di Pisa. Photo © 2017
Imaginarium Creative Studio. Click on the image for higher resolution
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It is a 'voices
opera'. The Orchestra
Toscana, conducted well
by Christopher Franklin, mostly supports the singers. There is a
difference here from the usual tenor-soprano-baritone melodrama triangle.
On the one hand, the tenor (Ghino sung by Giulio Pelligra) is the 'bad
boy' and the baritone (Nello sung by Valdis Jansons) is the 'decent man',
although obsessed with jealousy. On the other hand, it is a vocal
rectangle because Rodrigo (Marina Comparato, an alto in a
trouser role) has a part as important has the other three. The
protagonist (Francesca Tiburzi) has a herculean role, in terms of arias,
duets, trios, quartets and
concertato. She handles it very well, even though for her part and that
of Ghino, I would have preferred a stronger belcanto touch. She is a
dramatic soprano — her main success is Amalia in Un Ballo in Maschera.
Pelligra started as a belcantista but is now traveling towards
heavier roles. Both
Marina Comparato and Valdis Jansons are very experienced.
The death of Pia - the Act II Finale of Donizetti's 'Pia de' Tolomei'
at Teatro Verdi di Pisa. Photo © 2017 Imaginarium Creative Studio.
Click on the image for higher resolution
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An interesting feature
of the production is the staging by the director Andrea Cigni, the set
and the costumes by designers Dario Gessati and Tommaso Lagattolla, and
the lighting specialist Fiammetta Baldiserri. The action is moved from
the Middle Ages to Tuscany during Fascism, ie 1930s/40s, with a look to
the cinema of that time as well as today's, just to emphasize women's
condition at that time. A real festival production.
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