Performed only once in Florence in 1868 at the Pergola, close to the Parisian premiere, Romeo and Juliet from Carlo Gounod comes now in the seasons of Maggio Musicale Fiorentino for the first time when the title is now widely returned to repertoire all over the world. The work has all the characteristics to appear on a festival billboard and would not disfigure even as an inauguration, given the amount of resources required to stage it, but precisely because of this risk of slipping it is just around the corner.

In Florence, the slip takes place on the set-up. Frederic Wake Walkerafter an appreciable one Adriana Lecouvreur who inaugurated the festival exactly one year ago, creates an interlocutory show with his collaborators. The narrow stage of theAuditorium Zubin Mehta it is occupied by four stylized structures that can be moved sideways suggesting imaginable open and closed spaces. Characters dressed in costumes that suggest a vague Renaissance vibe with decidedly more contemporary shiny leather inserts come rather predictably. There is not even a particular care of the movements of the performers who show their musical numbers while standing still at the proscenium, in an atmosphere made rather leaden by the lights of Peter Mumford, and that ultimately knows a lot in concert in costume with the exception of a few arms movements in the third act, as prescribed by the libretto. The one who moves the most is the corps de ballet, often engaged during the opera, also called to perform the ballet of the fourth act (Bohemian dance), the only vaguely interesting part as it visually illustrates Juliette’s disturbances in the moments between taking the poison and the wedding then not celebrating: a little bit for a show lasting almost three hours. In fact, it is okay to make a need for virtue, given the circumstances and the limited space, but here we arrive at what appears to be a renunciation of any more in-depth work.

Fortunately, the safe wand takes care of moving things Henrik Nanasi. The agogic choices create a perfect theatrical rhythm, so as to let the music flow, now tight, now languishing in the lyrical oasis, without however encroaching on the pathetic. This is also achieved thanks to an Orchestra of the Maggio Musicale Fiorentino in excellent shape, very compact, but from which the conductor also knows how to bring out the details of the Gounodian score, with all its palette of colors. The attention to the instrumental data does not go to the detriment of the voices, always well supported and put in the right conditions to unfold. This also applies to the Choir, well prepared by Lorenzo Fratinitight in the interventions and round in the sound.

The cast turns out to be of good quality, even if not all perfectly versed in French diction, always difficult to make for non-native speakers. It goes without saying that all attention is focused on Roméo’s Juan Diego Florez, which brings this to the Italian stages for the first time. The unmistakable timbre and the excellent sound projection are now proverbial elements of his singing and here too there is no lack of opportunity to exhibit them. From a musical point of view, the Peruvian tenor proves to be a champion in the management of dynamics and nuances, and even if the extreme highs are slightly forced, he is still struck by the vocal caliber, also counting the decades of career behind him. Interpretatively, Flórez’s Roméo appears as a good boy sticking into something bigger than himself, not even knowing how; through this scaffolding, however, the figure of the star and his sincere but exciting song always peeps out.
The Juliet of Valentina Nafornița leaves better impression than last season’s Fiordiligi. The instrument is quite consistent and characterized by a nice round and slightly dark timbre, so that it is well at ease when the texture focuses on the central notes and the first high register, where the voice expands without problems, especially in the most lyrical oases. ; more problematic are the climbs to the extreme highs, rather tiring in passages such as the aria of the fourth act “Viens, amour, ranime mon courage”. The phrasing is not very fanciful, which leads to a singing line and is still beautiful but monochrome. The character as a whole works even if outlined in a conventional way: this Juliette is an unfriendly and full of herself teenager who then matures to the final resignation.
Alessio Arduini he is an authoritative Mercutio, who disengages himself well in the Ballad of Mab thanks to an excellent musicality, to the care of phrasing, as well as to the voice of beautiful timbre. Excellent is then his opponent Tebaldo, played by Giorgio Misseriwith his blunt tenor instrument and well-emitted treble. Francesco Milanese he is a paternal Capulet skilful in accents, but not without a light note in his couplets of the first act. Yevgeny Stavinsky he proves to be a Laurent not very varied in dynamics but all in all successful.
Vasilisa Berzhanskaya it’s almost a luxury in the role in travesti by Stefano and in song in the third act he highlights his mezzo-soprano voice with an easy high pitch. The Gertrude of Xenia Tziouvaras. Adriano Gramigni is an authoritative Duc de Verone, while the Pâris of Francesco Samuele Venutithe Benvolio of Lulama Taifasi and Gregory of Eduardo Martinez Flores.
The large but not very large audience is increasingly attentive starting from the aria of Roméo “Ah! Lève-toi, soleil ”, after which he explodes into a real roar. At the final applause, however rather decisive, there are real enthusiasms for the protagonist couple, in particular for Flórez, and some dissent for those in charge of the set-up.

Teatro del Maggio – 84th Festival of the Maggio Musicale Fiorentino
ROMEO AND JULIET
Opera in five acts
Booklet of Giulio Barbier And Michel Carré
Music by Carlo Gounod

Romeo Juan Diego Florez
Juliet Valentina Nafornița
Mercutio Alessio Arduini
Frere Laurent Yevgeny Stavinsky
Stephen Vasilisa Barzhanskaja
Capulets Francesco Milanese
Tybalt Giorgio Misseri
The Duke of Verone Adriano Gramigni
Paris Francesco Samuele Venuti
Gregory Eduardo Martinez Flores
Gertrude Xenia Tziouvaras
Benvolio Lulama Taifasi

Orchestra and Chorus of the Maggio Musicale Fiorentino
Director Henrik Nanasi
Choir Master Lorenzo Fratini
Direction Fredric Wake Walker
Scene Polina Liefers
Costumes Julia Katharina Berndt
Lights Peter Mumford
Choreography Anna Olchovaja
video Ergo Phizmiz
New layout

Florence, April 27, 2022

Photo: Michele Monasta

Photo: Michele Monasta

Photo: Michele Monasta

Photo: Michele Monasta

Photo: Michele Monasta