![\"Anna](\"http:\/\/www.musicalamerica.com\/mablogs\/wp-content\/uploads\/2017\/04\/annacatPoulencVoix.jpg\")
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By ANDREW POWELL BOLOGNA \u2014 Teatro Comunale\u2019s busy direttore musicale<\/em> Michele Mariotti<\/a>, 38, ventured his 33rd and 34th operas* this month with a foray in verismo, the terse tribulations of Cavalleria rusticana<\/em>, and, incongruously, La voix humaine<\/em>, a vehicle for the Bologna-schooled soprano, former mezzo, Anna Caterina Antonacci<\/a>. He chose big voices in Mascagni\u2019s melodramma in un atto<\/em> (1889) \u2014 Carmen Topciu<\/a> a smooth-toned Santuzza at the April 9 opening, Marco Berti<\/a> a steely Turiddu, Gezim Myshketa<\/a> an engaging, richly projected Alfio \u2014 and took a broad, detailed view of the score, tracing its melodies grandly and milking its dark sonorities. His orchestra provided luxuriant support, but it was the ardent and incisive singing of Andrea Faidutti\u2019s Coro del Teatro Comunale di Bologna<\/a> that left the firmest musical impression. Antonacci communicated handsomely through the notes as Elle in Poulenc\u2019s trag\u00e9die lyrique en un acte<\/em> (1958), before the break, without always correctly projecting Cocteau\u2019s vowels. Mariotti proved a restrained collaborator here. None of the musicians were helped by Sicilian stage director Emma Dante<\/a>, whose unspectacular concepts limited both operas. The Poulenc she placed in a nuthouse, with Elle on an unconnected receiver, thus forcing the elegant Antonacci to enliven not Cocteau\u2019s suspenseful telephone call but what amounted to a 40-minute tantrum. Six mimes, two of them nurses with needles, buoyed the effort. The Mascagni she set against a black background, relying on corny props and costumes to summon vital notions of Sicily while she made points about men\u2019s abuse of women. Crucifixes (a trademark of hers) and sad-sacred imagery suggested her confusion of Easter Day with Good Friday.<\/p>\n \u201cTrovo bellissimi i mimi. Elle ha tentato il suicidio per la disperazione di essere stata abbandonata ed \u00e8 ricoverata in clinica e da li fa una telefonata virtuale all\u2019 ex-amante. Infatti il telefono non \u00e8 collegato.\u201d<\/em> \u2014 Angela Schiavina<\/p>\n [*ROSSINI: Il barbiere di Siviglia<\/em> (2005, Salerno); L\u2019italiana in Algeri<\/em> (2007, Bologna); La gazza ladra<\/em> (2009, Bologna); Sigismondo<\/em> (2010, Pesaro); La Cenerentola<\/em> (2011, Bologna); Matilde di Shabran<\/em> (2012, Pesaro); La donna del lago<\/em> (2013, London); Guillaume Tell<\/em> (2013, Pesaro); Semiramide<\/em> (2017, Munich); DONIZETTI: Don Gregorio<\/em> (2006, Wexford); Don Pasquale<\/em> (2009, Torino); Lucia di Lammermoor<\/em> (June 2017, Bologna); PUCCINI: Gianni Schicchi<\/em> (2006, Fano); ZANINELLI: Snow White<\/em> (2006, Firenze); VERDI: Simon Boccanegra<\/em> (2007, Bologna); Nabucco<\/em> (2008, Reggio Emilia); Rigoletto<\/em> (2008, Lima); La traviata<\/em> (2009, Macerata); Il trovatore<\/em> (2011, Busseto); Un ballo in maschera<\/em> (2015, Bologna); Attila<\/em> (2016, Bologna); I due Foscari<\/em> (2016, Milan); La forza del destino<\/em> (Sept. 2017, Amsterdam); BELLINI: I puritani<\/em> (2008, Mah\u00f3n); Norma<\/em> (2012, Torino); BIZET: Carmen<\/em> (2010, Bologna); MOZART: Idomeneo<\/em> (2010, Bologna); Le nozze di Figaro<\/em> (2012, Bologna); Cos\u00ec fan tutte<\/em> (2014, Bologna); Die Zauberfl\u00f6te<\/em> (2015, Bologna); DALLAPICCOLA: Il prigioniero<\/em> (2011, Modena); FERRERO: Risorgimento!<\/em> (2011, Modena); MASSENET: Werther<\/em> (2016, Bologna); MEYERBEER: Les Huguenots<\/em> (2016, Berlin); MASCAGNI: Cavalleria rusticana<\/em> (2017, Bologna); and POULENC: La voix humaine<\/em> (2017, Bologna).]<\/span><\/p>\n Photo \u00a9 Rocco Casaluci<\/p>\n Related posts:
Published: April 25, 2017<\/span><\/p>\n
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