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Donizetti Society Newsletter N Perf orrrranceg L(TREZIA 80neu Opcr. M.nh.ttln Jun l,a ttd lE, 1996 Opcro Mohtao, r New Yo* City acfa ooryady shich has br.d ac{i'r! fot four Fars, hai ro fi. dirtinguish€d it!.f thar G to p.Ifonnamts of l@g forgdta or rarely hcard qcras, mostly ft6l thc FrEa.h ftpcrtoir€. Tbcn c.ry aftl,rpE d lteliaD opcfa hate bctn so fr.r havc bcca thc prcduddts of lluful's Anodtgi md mw Oaltaro D@ifrli's Lucrczd Botgto. ODcc Ati! (dd I am rcftrrirg to lntadg), @ oould apprcciaL ltc iEtlgtity sbotrD ta.&liDg [c r!'dDl prrDldns m}lIdrfi6 al(gcli[]. Lucraia Soigla, Piicb D@izcti r,roE in f833 frr Tcarro alL Sc.l4 but s,tict bc abo subjc.r.d b .ltB, additi@s ald modificeti.ns during thc foll,owirg ftals. Tha orEdor of rnc tide rcl€, tlc Frloch Ptimadoda EDrichata M{ric t5lt!d., playld a drcisivc (albcit modtly ncgxive) rolc iD t!€ sbapiDg of6a o,pcra s fust r/rfsiolr. A.hhoug[ shc sls just 35 ,!ats ol4 Idan& was alrtady a docliniog diva at rtc rod ofa glorious carlar ArinS thich she had haatd€d Beltini's 6rsi succcss€s by crcatiDg such 23 rolcs e3 Irnog€i1c in ,, Prruta dIJd Nai& in Iu Strorriera. Despiic tcr vocal touble sha va3 ltill a prina&ima asrolula, atrd as such she rcquested tlar dre opda Dodzefi v/ar cqnposiu should focus @ her (the opera could oorrnt aoother farnous dirE, thr ,rrcr-co MariEOa Brambila ss Maffo Onini, a rolc \i'hich Felica Romani ard Donizdti expand€d in hcr hoEor Aom itr rclatiltly minor firnc-tion in Vidor HuSo'r t'agedy, @ which the opcra is based). Itrarce ber danard for th€ fr!6t aria Era desso il lqlio Dio, a solutim utich the cc'nporci aoccptEd rEluctrndyr, aDd $tich he did oa* fiit to eliminate for a n6w S.lla poduclion i! It,lo. Ar lhat time, oa tte (rllcr btoA pedurs ro compensare fie rcw diya, la Fnzzolir{ for ti. lodr of thc fral rud6, bc corpo6rd a cabal.tla for tu, Si wlt il prino o coglterc, totf, i8crtod righ an€r Lxcrczia's Prclogue antr-arrcc aria Ouaito d bello! Ouale incanto!, urbi& t[us bccarno s fodnal aria c('np(lsed of cavatim ad cabalctta. Once Se had excised lie protrganist's virtuoso aria, Ddizctti conpodod an ario6o for the D6[, 6Dalc to be sutu by tbe dyiDg tador, foIorl,ld by tle Srieving orcLrnatiorl! of hcnziA vDo Eints dto her s@'s cotpsc with ! clitnadic aDd hafiowiDg B Ddural. The 6rst GtoDaro, irnor Frac€sco Pedra"zi, &cs nd aDpaei to heve b€etl a fGt-rata singer, nor did b6 cDjoy Donizctti's high €{recq lhis cxplaiDs stry fhc 1833 GroDaro lxas allded Do fornal arias io siD& just rtrc erioso D, pcsatore lgnobile,vhicl leads oshrnly iDto his duet with LucEzia. Whctr taooG ofhigher quality abd p.lstigg dccidcd to racklc the rolg D@izcti bad rc prcblais io rewadirg dl€Ir\ witiDg oo lcss tbatr t$o aias lo iDscrt in 0re begiEing of th€ bsi acl (somdim6 iD place of lhc OrsiDi4@aro duet), & fri* w, Anch\o Wvai b tenere srrbhie, for Mario, and the &t, Amo ticcome s'aDe zn argelo, for Nicola Ivuof ' C@laquaody, onca it is dccided lo prfotm lrcrezia Botglo, oc mu3t imrn€diafcty coirioot tr*tual prcblara. Sirce the perfomurcrs of lhfu q€ri iD modem tirnes bave mosdy b€ar built arcurd the pnsaacc of glar dirar, alnost insvitably tf,e oiginal vcBi.D rvi6 dle 6Dal r@d6 [as baao c]os€o; hoq,rllr, rllc splerrdid reoor adoso has often tcea insertd before it, too. And lhia is &€ sol|Itioo adopted by tb€ curert mise-qr-scene by Opcra Manhatt & $fiosa arristic dir€ctor.Dd c.drctor, Gabriel Guimaracs, has also assign€d the l\.aDofr aria to Glarfi!, v,hcraas h rny opiDi@ Mario's rri4 wilh its noE pertincd t€xt and tnorc sinuou3 mclody, would harc beco a morl appropriate clloice. Stylisticafly, thk rr,rrczla Solgia was . pcrfed dafiplc ofhow aD G.rly l9th catury It liar opcra o4ht to bc apF@ched. With firI r.spe.r for thc nrlcs of bclcaDio ard prcio- rcmedic opara, not only s,erE lh€ daccapos Epeated (in AtrErica Met docer, n ts !it]J o$tomary to clrt thqn), but also irnagiDatiidy 1ario4 and ttis procc<i[c was rlso appli€d to lb€ duets cabalettas, a rarely pcrformcd but toblty apprcpriafe pra.iic€. The cub wEre n inul and r€lated @ly ro 6c chorus' iDtervcnioos. Guimanas, tlsponsible also for tLe new orchEsFatior for @ly l9 iDstnmEots, cooducGd *ilh ainotiooal partioipation ,Eflcctjry in an appropriaE cboioc of urpi. Tlro casts altcmarrd in rh€ fou t,.rbrtrlaraas, ard itr b(itr ca!.s ibc bcs1 sing'"g *as oftrad by lbe ttfo protaSoqists. SoPram6 Ro6anarie BarEoz ad Maur!(, Tyl bdi gavc Sc"craly pratuewotlhy rach aEiliDg bersef of o@lct ly diftfiat if ,rc[ &tithdical, n&ars. Ba.toz' voicE albcit t.cndcaly 3olid ald sacul!, t!\Ealcd itsclfto be too tigtt for a rolo rcquiring a tuc sopram spinto cdtrpldcly at h.r casc b 6e iliddlc-low rcgirtrs of rhc stifq pharr Lucr€zia's tlssibra so oftm lias. IDdreq Baftaz gavc bor rccal bcst in the highcr .!d morr 0orid pas'aSps such us tia aabalaa SJ rDL Pnmo a caglterc, rfrir! fu rlrld.rld silt acor'acy 14 sxtroolbrcss, This soprao is houtcvcr giftd t,ilt rltnad.ablc sraSt prcsaaca rnd draD.tic f,.n, {hich.[ond G to ovqlook _ iD part, at lcast - a ccrtaiD laak of 't/ocsl @th. Msura6 Ty!'! sopr.Dq 6 &c dtrt hatr4 tnorE bric lnd m€aty, looDd MGr luitad lo thc rotc of Luc'rzi4 but as aD actst$ 3lE $.rn d mort iDhitiiad than hcr coleaguc Balh sqraDG rlvlal€d a frst-ratc tc.hniquc, wilh baautiftl pias ald a sccui! r@ Cfy! itr particular aho6a to perfom lhe highcr l,atiarrt of M?rd,, ar, t'odr, lho$dDg of a gorgcous C sbrrp b d0. t lt ir tigtty uOitan mwrnc, rirt Dodz.ti ,rltrd to trlc hir rq/roga ooqocing e vittl,6 eda to tb.olc F,rpo6c of placing lrLD& i, s dif6o r siodjoq as EFort d by E]nilia Brarca Ro@ni, s ldsioosty urElilblc aofta lrldrDrtab, whd cdrtrtcd fof Dorizati *la6 his opem's slccass, ad hc would hrw hrrdt daircd it wifi a prin doErB in rtifclllty. ' Othcr tcnoE u.d rc ini.rpolarc otbcr Doniz.r6 aria lilc &,n o tnt natofrDon &;bania,ro, ot , r3 g.s B.drmiDo cigli'i @fi\Angcto casto c b.t ftfr It Du@ d|ha. 2a lrnfortusalcly thc remaindcr of the two cests was not at tho same lcvcl. Th€ decision to €ogage t|,o baritd€s for dre role of Aforso d'Este, which lics oD a basso cartante tcssifura, provcd fafally utog, in as nuch as both Richald Estelita and Timotlly Tnrschel are light and t|lorish baritooes (esp€cially lhe former, wbo launches tenor-like high Fs ard Gs, while lhe lattcr sccms to b€ €quipped with a morc aolid vocrl lechniquc). Ne3l tlafrelson's tanor (he sang in both tb pcrfornamcs I aneoded becaue the s€cond cast G€maro was iDdispoc€d) is a rery plcasaDt rcicc b tie middl. r&gq oot support 4 ho*wor, by a suficieotly rcfnd tacbnique; as a cds4utacel tbc passaggio notEs and bis very 6lst higb Dotes vrere cotrs{aDtty strained ard unfoosed. Thfu is too ba4 as l}is ,ouDg t4aor $eems to have aD inc.edible r.Dge alld frcility lo produce nD6t ple3sarrt high not s iD falsettorq *{rich would male him ideal for Itis r€pertoirc. Orce vJc have d€scrib€d tbo perfomarces of the t{,o Maffo Orsinis, Keren Bembaum aod Mario Capriotti, as Dot exa<dy rnemorable, it rsnains or y to uderline tbe inad€quacy of mo6t of lha cornprimarios, arn@g q,fron only David RobiDsotr's fiEsh feoor as Rustigbelo stood ottt. He x,as fltbemore tb€ @ly one in thc cl*irc crst (bcluding the pdagooists - - t,nfofiDalGly many Arnericaa siogers ccasid€r good Italirn to b€ oo more thrn an o?tiorD.l) to boast. cl€ar aDd conprd[Dsible ltalid pr@unciation. Claudia Z3hn's podu.ti@ *a! scanr ard '!oor", rcdu@d to the nlere asslEtials, a bcoo\ an annchair, a table and a coupla of larrtams. The decision to drcss Alfo[so ar Increzia iD ragucly Rlnaissa,lcc-style codturps, wiile all the cilers wcre wearing docidedly t$dicfi cadrry waistaoatJ ard tro{rsqt was fi'ankly incornpI€ll€osible. lrltirbatety, d€spite th€ abov€dlrdiorFd w.al deficicacies, lhe tq,o perfonrunccs were afrlr a[ aajoryable ard Dotrble frqn sev€ral poirfs of vie% chieoy lhe two Lucrezias and Guimar.es' approach to dre t!rd. Ir is import rlt lo r€mernber lhat Opera Maihatta,, donates halfofits procacds to clrrity, in pdtiorar to AIDS catr ttsc.rcb -d Ni"ot, Lischt Mungai.
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