"And happy returns to the eternal singing of" given the occasion, the Innsbruck have festival weeks of old music this is the Motto of their most recent season. In fact, it was a touching Moment when the curtain went up in the Tyrolean state theatre for the opening premiere. Pre-operation Director Eva Maria Sens had thanked for the administrative concession to the Festival in spite of the Corona take place. Finally, should be performed "after 152 days of silence" on this stage again and played. A sophisticated prevention concept is designed to protect contributors, as well as the audience in front of the pandemic. Mask duty and clearance rules apply when Visiting and Leaving the courts. Colors at the entrances to mark their separate ways there. In a checkerboard pattern every second seat in the row is locked.
On the first evening of the feast of weeks, this worked. As Alessandro De Marchi took the stage, and the use of the Overture by Ferdinando Paërs Opera "Leonora" was, seemed to feel each and every one, no matter how painful it had live missing music played. Ten years ago, De Marchi has taken over the artistic direction of the festival, René Jacobs. The company he founded Cesti-competition has become an important address for Baroque vocal art. He is particularly proud now that you can realize in Innsbruck, all three of the planned music theater productions in an adapted Form, and even an Opera, more than in Salzburg offer. After Paërs "Leonora" is still to come Alessandro Melanis early Don-Juan-piece of "L'empio punito" as a staged production on the program. Under the title "La pellegrina" kidnapped in addition to a concert performance of the musical inter-media of Peri, Cavallieri, Marenzio, Caccini and others to the Renaissance court of the Medici.
Suggestive the Director's concept
Paër 1771 was born – a year after Beethoven, in Parma. As a sought-after composer of Opera, he worked in Naples, Venice, Vienna and Dresden. Napoleon brought him to Paris, where he died in 1839. His "Leonora" was in 1804 – a year before Beethoven's first setting of the same substance – in Dresden premiered. The Libretto by Giuseppe Maria Foppa based on how the "Fidelio"-fabric on a French text book by Jean-Nicolas Bouilly. The subtitle of "L'amor conjugale" ("The conjugal love") follows this template. The Innsbruck was opened weeks in the Beethoven bicentenary year, with Paërs two acts, is no coincidence. As a guest of the production, also stood at the Schwetzingen to play in may, and at the Beethoven festival in Bonn in September on the program. Both dates of the pandemic fell victim to. In Innsbruck, the charming comparison with Beethoven's "Fidelio was" clearly in favor of Paër. As is known Beethoven was, even after three attempts with his "problem child" to be dissatisfied and has composed no more operas.
While Regis is a tough nut your up to today's "Fidelio" at the breaks between the blue, sing, game, and heroic pathos of Freedom to the teeth, you would have to compensate for Paërs Version no dramaturgical weaknesses. All the characters and storylines are developed psychologically and musically compelling, as has already been shown in September 2000, a spectacular staging, with the then-unknown Jonas Kaufmann in Winterthur. In Innsbruck, the piece is presented without sets and costumes, but the "staged interactions". The week of the orchestra sits at the top of the stage, which allows for the historical occupation of the offered distance. Prior to this, space for the vocals is also sufficient ensemble. Mariame Clément's minimalist, highly suggestive the Director's concept benefits from a convincing, often just a pantomime suggestive guidance, wherein the Covid-19-tested protagonists are allowed to come close to. Sung is great. Eleonora Bellocci certified their "Mission" as Fedele alias Leonora at the beginning of the vowel scores with a magnificent entrance Aria. Legs it is later, with a beam strong aufdrehendem soprano "their man".
Dynamically well Aria singing
Paolo Fanale dosed turns out to be in the role of prisoners Florestano as a noble activist with a sensational, in Forte as in Piano present, in all registers like liquid Gold vibrant Tenor. Impressively, he designed his recitative, leads you to a dream, of course, in perfect, based, dynamic, well-dosed Aria singing. Renato Girolamo characterize Rocco as the choleric the effervescent type with plies of bass and a soft heart. Marie-Lys, who won two years ago, the Cesti competition, charmed as Marcellina with girlish charm and a clear bright soprano. The testosterone has tired of attacking Bass Luigi De Donato as a lover he is of little opportunities, but in the end not very surprising but even in. Carlo Alemanno masters of the Tenor part of Pizarro's sovereign, sits casually look playful accents, and, finally, shows, as is by no means black-and-white-drawn fiend even a hint of remorse, after Kresimir Spicer power as a Minister in his voluminous Tenor conciliatory claims.Updated Date: 11 August 2020, 22:19