This is an exciting performance. Gabriele Lavia’s steampunk production is stylish and plays up the violence and tension that underpin the opera. Nicola Luisotti’s conducting does likewise, as he is sharp and authoritative but also allows the music to breath naturally. The cast is excellent.(Opera Now)
Thaïs, a mature work by the composer Jules Massenet on the libretto by Louis Gallet, it is based on the novel of the same name by Anatole France. The new production of this rarely performed work is the result of more than a year of close collaboration between the forces of the Theatre and Stefano Poda, responsible, for the first time in Italy, for the direction, choreography, sets, lighting and costumes. On the podium, Gianandrea Noseda, who, seduced by the dramatic force and modernity of the orchestral writing, conducts Thaïs for the first time; a debut also for the protagonist Barbara Frittoli, who has chosen the Regio to make her debut in this difficult role. Georgian baritone Lado Ataneli gives an impressive study of the monk Athanaël.
Atti del convegno conclusivo del progetto di ricerca "CROSS-cultural Doors. The perception and Communication of cultural heritage for audience development and rights of citizenSHIP in Europe" (Cross-ship), finanziato dall'Università di Macerata, ivi svoltosi dal 4 al 6 maggio 2016, diretto da Francesca Coltrinari.
In honor of the Tito Gobbi centenary (in 2013), the Associazione Musicale Tito Gobbi has unearthed and released this Otello, performed in the courtyard of the Doge's Palace in Venice, in August 1966. While technical challenges involved in broadcasting a production back in the '60s, from a venue not designed for theater, caused occasional problems involving camera work and sound, the resulting black-and-white video is well worth having, particularly for Gobbi's brilliant Iago. Although an earlier Gobbi Iago is available from VAI, filmed in Japan in 1959 opposite Mario Del Monaco's titanic Moor, this later document finds the extraordinary baritone no less nimble physically and vocally. In fact, the vastness of the performing area and the evocative atmosphere of the Palazzo Ducale seem to draw from Gobbi a sort of ownership of the environment that is perfect for Iago, as he darts about controlling events like a sardonic puppeteer. And, as one recalls from performances at the Met six months after this one, Gobbi was able to imbue the character with a youthful, amicable persona that made Iago's vile deeds all the more chilling. This video also confirms the recollection that this role, even in late career, was one the great singing actor found vocally congenial. There is a lightness of delivery that makes Iago's Act I drinking song and Act III duet with Cassio particularly stunning. Textual and tonal colors are employed in a manner that feels inevitable rather than applied, and Iago's "Credo" might as well have been written for Gobbi, so perfectly does it suit his gifts. All in all, this is a dazzling performance.