Pisa, Verdi Theater – Julius Caesar in Egypt – Connected to the Opera
On 5 July 1922 the first modern performance of Julius Caesar in Egypt Of Georg Friedrich Händel, after centuries of oblivion: the libretto was translated into German, the score rearranged and orchestrated, the parts of Cesare, Sesto and Tolomeo had been transposed for bass, baritone and tenor voices. One hundred years after that revival, the Händelian performance practice has made giant steps between philology, rediscoveries and the affirmation of a new vocal category, the countertenors, to perform the parts designed for castrati. For much of the last century, however, the practice of entrusting the di Cesare to a bass-baritone remained in use, in the 1980s the philological revolution put an end to it, since the voices to deal with this repertoire were by now fully formed.
It is therefore not clear why in 2022 it is decided to bring this archived practice back to light in a series of reciting of a new production. Is it perhaps a nostalgia operation, or a pretext to make the less accustomed public digest the three abundant hours of music? Whatever it is, the flavor is decidedly anachronistic, and even in the absence of countertenors, the choice of entrusting the part to a mezzo-soprano would have been much more legitimate, also by virtue of the fact that the male protagonist roles in the contemporary works of Handel Julius Caesarthey were never written for bass, but at most for tenors (like Tamerlano) or castrati.
Net of this textual choice, Marco Bussi in the role of the protagonist it cannot be said that it hurts, drawing a Julius Caesar that cannot be more Roman. The voice is not disruptive, but the line is homogeneous and the baritone has all the notes required by the transposition. He is not even afraid of the agility with which his airs are disseminated, drawing a braggart but also generous with genuine love. We are beside him Silvia Dalla Benetta who is vocal at ease in the role of Cleopatra. Her timbre is soft, even if not very fresh, and the voice unfolds well both in the central and high-pitched area, moving without problems even in agility. However, there is a lack of a more engaging and magnetic interpretation, which is not secondary in such an iconic role, so much so that her lamenting arias end up being somewhat monotonous.
Sonia Prina he fits perfectly into the role of Ptolemy, mainly entrusted to countertenors and over the years unlined his expressive baggage of this mature, especially in the less clear-cut characters of Häfoderandel. The instrument looks rather patchy and worn, but a predictable used to build a concentrated character is recorded. From his side, Federico Fiorio he unfolds his soprano voice, clear, soaring and well projected, to draw a Sesto branch but at the same time animated by the feelings of revenge. Agility is well in focus and sharp climbs are safe and well stamped.
Maddalena Urbanowicz she is a diaphanous Cornelia that lacks both vocal pulp, even if she possesses all the notes of the role, and incisive stage presence. Rocco Lia he is therefore an exuberant but well centered Acilla, thanks to a low volume and beautiful timbre that allow him to chisel his music well. The two supporting roles are excellent, even if they lack solo pieces, Patrizio La Placa come Curio e Antonello Dorigo in the role of Nireno.
To govern the musical part we find Carlo Ipata a leader of the Auser Musici Orchestra. The director is inclined towards an Apollonian-style reading, which never indulges in excessive contrasts or passionate glimpses, even if a greater sensuality in arias such as “V’adoro pupille” would not hurt. This does not change to obtain a very average palette and tempos, also suitable for supporting the voices and trying to give a vaguely theatrical sense to what is rumored.
In this regard, a clarification must be made. Initially this title included a direction by Enrico Stinchelli, the current artistic director of the Pisan theater. A few weeks ago, his name was replaced with that of Matteo Mazzoni, which will probably have to partially adapt to the design already conceived by Stinchelli. The stage set, signed by Giacomo Callariconsists of a series of steps and is enriched by projections, creates by Luca Attili, which help to better characterize the environments. Through them we try to recreate the Baroque scene changes made of movable canvases and painted scenes, according to a more contemporary sensitivity to us. However, the director’s contribution does not go much further: the singers mostly stand still, or parade from the stairs to the proscenium to sing the shots of the arias, waving their cloaks; even when there is some gimmick, such as Cleopatra’s bath during “V’adoro, pupille”, this is repeated continuously throughout the musical piece causing a decided effect of boredom, as if everyone approaches the directorial approaches to the baroque of the last 40 years had never existed.
Although many things in the show are similar to a blast from the past, the audience appreciates without too many defections. There is also no shortage of open-stage applause, especially for Cesare, Cleopatra, Tolomeo and Sesto, who are also the most applauded at the final calls, together with the director.
Verdi Theater – Season 2021/22
JULIUS CAESAR IN EGYPT
Opera in three acts
Booklet of Nicola Francesco Haym by Giacomo Francesco Bussani
Music by Georg Friedrich Händel
Julius Caesar Marco Bussi
Cleopatra Silvia Dalla Benetta
Ptolemy Sonia Prina
Cornelia Maddalena Urbanowicz
Sextus Pompey Federico Fiorio
Achilles Rocco Lia
Curiosity Patrizio La Placa
Nireno Antonello Dorigo
Auser Musici Orchestra
Director Carlo Ipata
Direction Matteo Mazzoni
Choreography Daniela Maccari
Scene Giacomo Callari
Lighting designer Michele Della Mea
Video artist Luca Attili
New staging of the Theater of Pisa
Pisa, February 27, 2022