Ángela Marambio during the curtain callsNot many things have changed since the dress rehearsal a couple of days ago. I got out of the theatre thinking once again that this was a very cold staging, lacking personality, originality and power. I found the sets a bit odd (the first set for the Prologue and the Finale was terrible) and the costumes didn’t have character…Gabriele Adorno dressed like an astronaut in Act III, Boccanegra dressed like a Hell’s Angel in the Prologue but then again dressed like a buffone rather than the Doge of Genoa in the rest of the opera. Too bad, too bad as the production really undermined some beautiful interpretations.
As expected, this was a personal triumph for Ángela Marambio, singing Maria/Amelia Grimaldi even if at the beginning she was quite nervous. She created though an extraordinary portrayal of the character! What a beautiful voice, so warm, with so many harmonics, brava Ángela!
Dimitris Tiliakos, very nervous too as Simone. And this time he didn’t seem to be getting over it as time went by. His voice sounded wobbly, even if his volume was huge and his general approach to the role was very “italianate” and elegant, vaguely reminding of his late teacher, Kostas Paskalis.
Dimitris Platanias as Paolo also deserves special credit as he sang with voice robust, healthy, and maschile and created a believable Albiani.
Francesco Demuro (Gabriele Adorno) displays a very good technique but a rather weird nasal sound, however take note that this promising young singer has been singing professionally for just a few months.
Bálint Szabó’s Jacopo Fiesco was correct, but it seemed underpowered and went unnoticed.
Once again I will give kudos to maestro Montanaro for making a bad orchestra sound/play so good. Kudos also to the Ah! I almost forgot! At the Athens Megaron tonight were present Renata Scotto (who is currently in
And just to get an idea,
here’s Ángela Marambio singing Come in quest’ora bruna
on opening night
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1 comment:
Για να δούμε.... Εγώ μάλλον αύριο θα πάω
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