Under the baton of the esteemed Riccardo Muti, the Teatro Regio di Turin is currently showcasing a new production of Verdi’s Un ballo in maschera. Muti served as Musical Director at La Scala in Milan for nearly two decades, concluding his tenure amidst turbulent circumstances some twenty years ago. At 82 years old, he arguably remains one of the foremost Verdi conductors, a fact reaffirmed by his recent performance in Turin.
Departing from the furore of his youthful interpretations, Muti skillfully navigated the dual registers of Verdi’s masterpiece, lending Ballo its distinct originality and uniqueness within Verdi’s oeuvre. The opera emerges as a tragicomedy, wherein the refined elegance of courtesans and their bagatelles serve as a backdrop to a narrative of forbidden passion and betrayal of friendship.
Muti's interpretation exuded an expressive power that delicately balanced soft smiles amidst the shadows of dramatic passion, employing this contrast to sustain a palpable tension throughout. The accomplished Teatro Regio orchestra adeptly mirrored his vision, employing a diverse palette of timbres and emotions, underscored by a pervasive sense of impending death. Muti demonstrated unwavering support for his singers, helping them with attacks and guiding them through tempi, which were at times slower than usual. Similarly, the Coro del Teatro Regio delivered a performance of grace, maintaining precise rhythm and intelligently following the conductor’s dynamics, a testament to the meticulous preparation by Ulisse Trabacchin.
Andrea de Rosa's new production takes a traditional approach to the narrative. The stage design and costumes, curated by Nicolas Bevey and Ilaria Ariemme respectively, evoke a Neapolitan palace setting from the 16th–17th century. The curtain rises on the aftermath of a ball at Riccardo's palace, with guests staggering out in a half-drunken state, in an atmosphere of decadence. The palace splits down the middle to reveal Ulrica's cave, where the fortune-teller emerges on a catafalque draped in a black veil, almost an ancient prophetess prophesying Riccardo's impending demise. The palace, with minor modifications, reappears in the third act as Renato's house and as the venue for the titular masked ball.
While visually appealing, the rigid symmetry of the sets, mirrored by the choreography by Alessio Maria Romano, becomes overly saccharine by the end. Additionally, the pervasive use of masks on the singers' face seems to lack a clear purpose and ultimately hampers their ability to emote and express.
In the second act, the “orrido campo” is depicted as a desolate scene, with the same catafalque at its centre, corpses strewn across the ground, and an eerie green fog enveloping the stage. Despite its banality, this setting effectively conveys Amelia's terror at finding herself in such a place, better than most other productions I’ve encountered.
Piero Pretti portrayed Riccardo with a bright tenor, full of squillo, that effectively conveyed the count's youthful passion. However, his interpretation sometimes lacked the requisite elegance and nobility befitting a head of state. Additionally, his comedic moments, such as in "È scherzo od è follia," could have benefited from more levity and vocal warmth. Riccardo is a multifaceted character, brimming with conflicting emotions, yet Pretti's portrayal occasionally lacked the nuanced depth required. While his rendition of “Ma se m’è forza perderti” showcased a beautiful legato and supported the melodic line admirably, some listeners may have desired a more lyrical outpouring of emotion.
Luca Micheletti delivered a compelling performance as Renato, Riccardo's trusted friend turned murderer, despite an initial announcement of illness. With his wealth of acting experience, Micheletti breathed life into every scene he graced. While his baritone may not adhere strictly to the Verdian stereotype, its richness, colour and nuanced quality were captivating. Though his rendition of the poignant aria “Eri tu” may have lacked some spontaneous outbursts of rage and desperation, Micheletti's controlled yet emotionally charged interpretation, coupled with bright and secure high notes, ultimately resonated with the audience.
Lidia Fridman took on the role of Amelia, Renato's wife and the object of Riccardo's affection. While her soprano exhibited an unfortunate acidic quality, especially noticeable in the high register, her impeccable technique, remarkable breath support and nuanced phrasing shone through. In moments of mezza-voce and softer passages, such as in the poignant farewell duet, Fridman's timbre softened beautifully, demonstrating her skill and emotional depth.
Damiana Mizzi portrayed Oscar, Riccardo's page, with aplomb. Her soprano possessed the agility and high notes required for the role, coupled with a refreshing spirit and freshness in her voice. Meanwhile, Alla Pozniak embodied the fortune-teller Ulrica with her powerful mezzo, boasting a suitable depth in the lower register despite encountering some challenges in the passaggio.
