Rigoletto:lyric 2007/2008 season in Germany

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Rigoletto:lyric 2007/2008 season in Germany
29th June, 2008

Just for once, let us begin by the end. Starting with a public delirium, ovation ant to break the soloists and the conductor, and also, with one exception, the director. It was the feast of the Semperoper Dresden during this first Rigoletto eagerly awaited and broadcast, offline, on Arte. And indeed, the public was not misled. This may be one of the greatest achievements of the lyric 2007/2008 season in Germany, one of those rare evenings where the German term Music theater is entirely justified, because music scene and form a large unit.

For the occasion, Nikolaus Lehnhoff, the great lord of the German Regietheater has rubbed for only the second time in the world of Verdi. And, unlike the Don Carlos conceptual and cold in Zurich it a decade ago, he managed to reconcile this time a psychologies and attentive listening to music. If costumes place the action in a modern era, it is not a transposition plate and realistic drama in any authoritarian state today. On the contrary, the courtiers of the Duke of Mantua operate in a universe with cold and surreal, sometimes a touch of "mystery". In this strange atmosphere, scary and fascinating at the same time, takes place on the human drama that happens between the duke, Rigoletto and his daughter Gilda. And this is where Lehnhoff is the grand master of the direction of actor. Under his hands, Gilda is not the usual girl a little naive, but be deeply traumatized by the love of her possessive father, taking refuge in the love she believes feel for the duke. This is the classic libertine, both beautiful and repugnant. But it is also deeply touched by the special meeting with Gilda. Thus, even if it resumes its habits in the third act, Gilda is always present in his head, so he sent a good part of the quartet to her and not to Maddalena. And Gilda is indeed happy to relive for a moment his dream of love.

Rigoletto is characterized by a more traditional but no less effective - a man alternately grotesque and pitiful, threatening and tragic. If the staging loses a little consistency in the third act - with, among others, the remains of Sparafucile open on all sides where you strike at any time doors invisible - the overall impression is very favorable, because any action is directly inspired by music and the feelings it conveys. And there are two images of this last act that will remain forever engraved in the memory. First the Last Judgement painted on the backdrop of the stage and illuminated by the wrath of the storm. And then these four buffoons, appearing black at the last moment of the opera, as if they sprang from the soul of Rigoletto, before the latter n'exclame its latest "Ah, maledizione."

Musically, this is the first evening of Fabio Luisi. At a desk Staatskapelle Dresden in great shape, he delivers a masterful reading of the score, far from the summary and interpretations without charm that were heard him during some evenings repertory in Munich or Vienna. Here, everything is at best: the choice of tempi, the art of phrasing and rubato in the elegiac moments and the rhythmic pulsation in cabalettes. Nothing is left to chance. Even the figures accompanying the more conventional are responsible expression. And yet the overall impression is not built or mannered.
If one stands in applause, the queen of the evening called Diana Damrau. And indeed, Gilda should fear no rival, neither this nor of the past. Formidable actress, soprano Bavarian has a voice rich in color and sip of emotions that are transmitted directly to the public. Not to mention a vocal technique without any loopholes. Trilles and hyperacute, piani air attacks and dramatic - there is no problem with him. This is a rare Gildas passing an "Caro nome" while gentleness and poetry without being endangered by the tessitura most central of the third act. For Juan Diego Flórez, however, the duke is at the limit of what it can currently afford. And yet, it is superb technician, he triumphed difficulties of the role without ever grow its voice timbre so precious, but never force these means. He skillfully negotiates the passages a little severe for her voice while offering us superb treble, including one against re-short, but placed at the end of "Possente amor." But most importantly, Flórez can demonstrate that it is more than a virtuoso, more than a machine vocalises and suraigus. Thus, it is quite credible libertine, but when love seems to touch on a "Parmi veder le lagrime" legato haunting, sung while halftones.

In the title role, succeeds Željko Lučić a course without fault all the more remarkable that this is taking a role. With a voice large, homogenous severe acute resonant to the easy and powerful, it is also demonstrating a remarkable mastery of phrasing Verde and a wide range of shades and colors. Here is a singer capable of taking over from the Cappuccilli, Bruson and other Nucci when it comes to embody jobs so difficult to distribute baritone Verde. Among the secondary roles, including the impressive welcome Sparafucile Georg Zeppenfeld and Giovanno superbly played by Angela Liebold. Maddalena and Monterone, however, still a little pale.

For all those elsewhere who have missed the broadcast on Arte, there is a hope: that memorable production will probably be published on DVD. In this case, do not hesitate to get it. You will not regret it.

Release link: http://www.asolofilmfestival.it/