| Date: Fri, 28 Mar 2003 "Opera seria" by F.L.Gassmann Théatre des Champs-Elisées The difference between Fellini's 8 1/2 and Florian Leopold Gassmann's L'Opera Seria is, 8 1/2 has much better music. Rene Jacobs' production, at Paris's Theatre des Champs-Elysees, was tightly performed, but totally lacking any interesting musical lines. As a play - a comedic farce about putting on a grand opera - it was extremely amusing. The cluttered stage look continued to be all the rage at Friday evening's showing. The sets, props and costumes all worked exceptionally well. The stage directions, especially for Act 2 - the rehearsal - were worthy of an Oscar Wilde play, producing hilarious setups that completely hooked the audience. Concerto Koln was in fine form. The horns, oboes and bassoons executed some brilliant passages, however, the entire ensemble was superb. They play with a clarity and elan that is rarely achieved. Concerto Koln was parfait! On stage, the lead hooty tenor, Ritornello, played by Mario Zeffiri, was a gas. He was the perfect primo, stylishly in love with himself. Riccardo Novaro, as the dancer master, had a powerful, clear voice and was a treat to hear. Porporina, one of three prima donnas, was sung with gusto by Janet Williams. She has an excellent, intelligent sound and really got into her role. The man of the match was Pietro Spagnoli, as Fallito. His intense tones, superior projection and Acresesque diction were sublime. Spanish gets full marks for his ironic portrayal of the failing producer. This guy has a great voice. The woman of the match was Smorfiosa, sung by Miah Persson. Her divine phrasing lifted the otherwise insipid score. Persson managed to combine her comic / sickly / jealous / high maintenance part so well, you knew this chick. She was fantastic. All of which begs the question, why waste all this musical talent on Gassmann. Cinthia Winters www.people.fas.harvard.edu/~cwinters/oth03.html |
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