Fabiano, Michael

Subterms

    Latest story

    125 Shares144 Views

    Review: ‘Il Trovatore’ at the Met Opera Doesn’t Catch Fire

    by

    The energy in Verdi’s classic must come from the singing, but the cast of this revival fails to convey the work’s passion.Verdi’s “Il Trovatore” begins with a group of soldiers keeping a weary patrol. “Drive off the sleep that hangs heavy on our eyelids,” they sing, begging their commander to entertain them with a story.His spine-tingling tale riles them up. But the sleepiness never quite lifts from the revival of “Il Trovatore” that opened at the Metropolitan Opera on Saturday afternoon. While this was only the first of 12 performances of David McVicar’s cement-gray staging — a long run — already on Saturday there was the worn-out feeling of a show ready to rest.The conductor Daniele Callegari kept things flowing in the orchestra pit. But particularly in the operas of the Italian bel canto tradition from which “Il Trovatore” (1853) emerged, the energy — in this piece, it’s closer to crazed passion — must come from the singing.The tenor Michael Fabiano is usually the kind of artist who provides that energy, even if his voice can seem tensely pressed out rather than smoothly natural. As Manrico on Saturday, though, he tended listless, sounding strained from his first offstage song. He occasionally made some attractively plangent sounds, but couldn’t conjure this character’s moody restlessness.As Azucena, the mezzo-soprano Jamie Barton sang with neither the raw power nor the varied, surprising colors needed to make this long-suffering woman’s plight feel truly central to the story. Igor Golovatenko, a baritone who has made a strong impression at the Met in Russian works and, last season, in Verdi’s “La Forza del Destino,” was gruffer than usual on Saturday as Count di Luna.Fabiano and Willis-Sorensen. As Leonora, she kindled some of the passion the production was otherwise lacking. Ken Howard/Metropolitan Opera“Il balen,” his monologue about his consuming love for the noblewoman Leonora, should unfold in long, aching lines but here was tired and blunt. Even putting a leading man, the bass-baritone Ryan Speedo Green, in the supporting role of Ferrando didn’t end up seeming like luxury casting; this part wants richer depths than Green’s voice provided on Saturday.The show did give reassuring signs about the continued health of the Met’s chorus under its new director, Tilman Michael. That group of soldiers early on sounded hearty and believably frightened, and the women of Leonora’s convent sang with evocative mistiness.Best among the soloists was the soprano Rachel Willis-Sorensen as Leonora. She wasn’t entirely comfortable when agility was required, and she didn’t have the vocal heft and commitment to give the “Miserere” in the final act its full stature. But along with some light-filled high notes, there’s a gentle creaminess to her tone that made the aria “D’amor sull’ali rosee” feel earnest and true.Thanks to Willis-Sorensen, some embers of passion glowed near the opera’s end. But it was too little, too late, for a performance that never caught fire.Il TrovatoreContinues through Dec. 6 at the Metropolitan Opera, Manhattan; metopera.org. More

    More stories

    • 100 Shares99 Views

      in Music

      Review: ‘Tosca’ Returns, Defined by Its Quiet Moments

      by

      Aleksandra Kurzak, moving into heavier repertoire with Puccini’s opera, played the title diva as touchingly human.When Aleksandra Kurzak, a graceful lyric soprano with impressive coloratura, released an album of surprising, heavy repertoire from the Romantic and verismo eras two years ago, she seemed to announce: Staged performances are on the way.Her Tosca arrived at the Metropolitan Opera last March, and on Tuesday, she revisited the title role of Puccini’s tragedy in David McVicar’s attractive, if stolid, production. For a singer who made her house debut in 2004, scaling Olympia’s vertiginous runs and high notes in Offenbach’s “Les Contes d’Hoffmann,” “Tosca” is a departure. Wagnerians and Verdians have sung it; Mozarteans, too. But an Olympia? That’s rare.On Tuesday, Kurzak’s best moments were gentle ones. Tosca, an opera singer herself, is often portrayed as a volcanic personality, a creature made for the stage whose feelings constantly threaten eruption. But Kurzak’s softly focused heroine was the kind of performer who transforms before an audience. Jealous tantrums and high moral stakes spurred her to summon fire and grit.Kurzak seemed to manipulate her otherwise silky tone to make it bigger, darker and more dramatic. It sometimes sounded swallowed and breathy. Whenever she let a more fragile sound emerge, alighting on a silvery high note or shaping throwaway lines with color and care, it was captivating. The end of her “Vissi d’arte” — when most singers are recovering from the aria’s exposed climax — was exquisitely handled.It’s unusual to remember a Tosca for the small moments instead of the big ones, but Kurzak’s approach made her Roman diva touchingly human and acutely tragic.In the orchestra pit, Carlo Rizzi also mined Puccini’s lacerating score for tenderness. Scrappy filigree accompanied the Sacristan (a characterful Patrick Carfizzi) in his fussy, officious role as the opera’s designated comic relief. The strings shivered with romance during a transitional lull in Tosca’s Act I scene with Cavaradossi. Rizzi let notes hang in the air with a hint of menace, then turned up the intensity for the score’s splashy, hair-raising torments. In Act III, he painted a dusky morning scene and signaled the nefarious business of execution to come without shortchanging either effect.Michael Fabiano lent Cavaradossi a handsome, propulsive tenor. His middle voice has consistently been gorgeous, and his stage presence kinetic, but as recently as a 2018 “Mefistofele” and a 2019 “Manon” at the Met, his high notes were unreliable. No issue there: In “Tosca,” they rang out with confidence and muscularity, capped by a dome of sound. Fabiano’s full-throttle style in “Recondita armonia” revealed the heart of a revolutionary rather than an artist; and if soft singing in his Act III solos was weak, his desperately clinging to Tosca before his execution was rending.Luca Salsi, an engrossing, casually evil Scarpia, sang in a manner more like pitched speech, pointing his voice into the hall in a way that balanced the police chief’s debonair manner and thinly veiled malice. As Spoletta, Rodell Rosel was a smarmy henchman; as Sciarrone, Christopher Job was a rugged one.McVicar’s staging is so harmless, with just enough good taste to keep detractors at bay, that it already seems like a part of the Met’s furniture, despite being only five years old. Still, with the right performers bringing a sense of intimacy to its vast canvas, it feels like a success.ToscaThrough Nov. 4, then again next spring, at the Metropolitan Opera, Manhattan; metopera.org. More