Verona – Philharmonic Theater: The silk staircase
Few are aware of Gioachino Rossini’s lightning-fast Veronese parable, present in the Venetian city on the occasion of the Congress of the Holy Alliance in the autumn of 1822. Invited by Prince Metternich to compose cantatas for the occasion, Rossini did not write new music but assembled existing materials for its two contractual commitments, The Holy Covenant for the Arena (whose score, coming from The woman of the lakeis lost) e The real tribute for the Philharmonic Theater (a revival of the Neapolitan cantata The gratitude, with the addition of another tenor and the adaptation of that of the mezzo-soprano to the vocality of the castrato Velluti). Two hundred years after the fleeting presence of his composer in Verona, the Philharmonic Theater hosts the owner of the farce The silk stair.
The show of Stefania Bonfadelliat the helm of an all-female creative team (Serena Rocco the whole scene, Valeria Donata Bettella to the costumes, Fiammetta Baldiserri at the lights), sets the Rossini farce around the 1940s, in a fabric and fabric shop owned by the gruff Dormont where the two nieces and the servant Germano work. The skirmishes between the lovers Giulia and Dorvil and the suitor Blansac take place between the dressing rooms, the windows with the mannequins in wedding dresses and the high shelves of the shop in which the protagonist, not only married in secret but also at the beginning of pregnancy, hides the dresses embroidered with knitting needles for the unborn child. While not effectively solving the expedient of the scale that gives the work its title, the staging proves to be enjoyable and entertaining, without ever falling into vulgar and excessive, thanks also to a cast who made their own directorial design and yes moves with ease on stage.
In the part of Giulia she is engaged Eleonora BellocciGilda has recently appeared Rigoletto in the same theater. The Tuscan soprano is the protagonist of a rehearsal in crescendo, demonstrating more familiarity and ease with the role as the show progresses: after a truly interlocutory introduction, things take off starting from the following duet with Gemano “I know ch ‘ you have a good heart ”and in the quartet“ Yes that united with dear bride ”. His voice stands out, more than for the volume, for the beautiful color and the sure high pitched climbs in the air “My well sigh and call”.
Its counterpart, the bold Dorvil of Matteo Rome. The young tenor tackles with a certain prudence the anything but simple aria “I’ll see what supreme enchantment”, however demonstrating that he has the credentials to perform it without striking a blow, in spite of some acute perhaps too mechanical but which in any case does not affect a more than positive performance, confirmed by his interventions in the quartet and in the finale.
The only “veteran” of the cast and in his third Rossinian role in Verona within three years, Carlo Lepore he is a joyful and pleased Blansac, to whom the insertion of the trunk aria “Alle Voices of Love” is reserved also in this Veronese production. The vocal instrument is as always generous and sonorous, but without ever overpowering or covering the crowd of young colleagues.
Emanuele Franco he is a German who fortunately does not tread his hand on comic stunts of bad taste. The volume is not overwhelming, but he uses his vocal means effectively by drawing a silly character, dumb but tender in his naivety.
Even in the smallness of its part, Caterina Piva he carves out a good personal success by outlining a self-confident Lucilla with considerable vocal depth.
Diligently complete the cast the nervosomont of Manuel Amati.
The direction of Nikolas Nägele driving theArena Foundation Orchestra: the German conductor enhances the vivacity and vivacity of this youthful Rossini, without forgetting the most lyrical and dreamy moments. The ensemble numbers are resolved with dynamic but not rushed times, to the benefit of the soloists’ needs. The dramaturgical and musical tension between the single pieces and the recitatives never fails thanks to the master at the harpsichord, Federico Brunello.
Audience amused, sympathetic and generous with applause towards the singing company. At the end of the show, an undisputed successor for soloists, director and creative team.
The review refers to the performance on Sunday 27 March 2022.
Martino Pinali