Opera Reviews
29 March 2024
Untitled Document

A compelling and entertaining evening



by Moore Parker
Puccini: Il trittico
Theater an der Wien
18 October 2012

Photo: Werner KmetitschA definite triumph here for production team and cast alike, in an updated rendering of Puccini's Il trittico as a one-set package with some interesting surprises.

Damiano Michieletto and his colleagues (sets: Paolo Fantin, costumes: Carla Teti, lighting: Alessandro Carletti), have ingeniously united these three contrasting works, while yet maintaining their absolute autonomy.

A set of life-sized shipping containers provides the building blocks for the entire evening. The cold grey metal highlighted by harsh white lighting serves Il tabarro, with an almost instantaneous transformation in Suor Angelica to a stark convent laundry with shoddy white tiling and institutional fittings. Following the interval, Gianni Schicchi sees the container structures clad with heavy red embossed wallpaper in a multilevel dwelling, overladen with attractions for the ambitious heirs-to-be.

Michieletto (in his Vienna debut) is here able to demonstrate his ability to mould his casts. Every character has evidently received detailed attention (the browbeaten, cowering novices, each with her own terror-driven body-language, spring immediately to mind as an example) and dovetail with the plot convincingly and without affectation.

Michele and Giorgetta's dead child, Angelica's illegitimate offspring, and Lauretta's anticipated child (here she surprises her father with a leporello of ultrasound images in "O mio babbino caro") form a kind of Leitmotiv throughout the evening symbolized by a reappearing pair of baby's shoes.

The "Cloak" takes on a broader role than its typical function in Il tabarro where Michele covers his victim's corpse with his padded anorak, a garment which Schicchi dons at the end of the entire evening, incidentally. In all three works, apparel is given the role of concealing, revealing or providing ablution for "sin" in one form or other, be it jealousy and murder, lust,or greed. I liked the touch with the mink coat which gave both the Principessa and then Schicchi undeniably grand entrances.

Clever, too, the immediate transition between Il tabarro and Suor Angelica in which the weeping Giorgetta remains centre-stage to transform into the newcomer novice about to be sheared of her seductive mane of hair.

The casts are generally strong throughout with many memorable contributions. Both as Michele and as Schicchi, Roberto Frontali demonstrated superb acting and singing skills. This Michele wins sympathy - despite his broodingly sinister snarl - as the wounded father carrying his dead child's shoes in his coat and in his vain efforts to reestablish Giogetta's affection. Despite a subtle and rather under-keyed approach in Schicchi, his personality and vocal presence are undiminished by all the frantic activity and other dominant protagonists.

Patricia Racette (Giorgetta and Angelica) was equally convincing in both her roles, her voice well-complimenting her impassioned and natural stage work. Her vibrant soprano rings true in all registers, and - despite a couple of uneasy moments in Il tabarro - appeared to gain in both ease and volume in Angelica's challenging finale.

Marie-Nicole Lemieux evidently had great fun swinging between Angelica's deceitful aunt (interestingly, appearing with child in hand - only to lie to Angelica later about his apparent death). She knows how to well utilize her imposing figure, whether looming in her full-length mink and designer shades as the Pincipessa or gyrating wildly and throwing her leg seductively over Schicchi's thigh as Zita. Her Clara Butt-like alto well-compliments her strong personality. A delight to eye and ear.

As Luigi, Maxim Aksenov gave a youthful and virile performance with ample metal in his tone to ride Puccini's testing lines. However, judging by his vocal colour and accent, one could be forgiven for thinking that this stevedore had just headed south to find work.

Stella Grigorian demonstrated exceptional acting ability - switching from Frugola (here depicted as an hilariously-costumed and eccentric bag lady) to La Badessa and then Ciesca - and vocally lay on a par with the other leads throughout.

Enjoyable performances too by Ekaterina Sadovnikova who's contributions included Amante, Suor Genovieffa, and a sweet - though slightly cool - Lauretta (who possibly might have benefited from a little more indulgence from the pit). Paolo Fanale (Amante/Rinuccio) made his mark in Gianni Schicchi where his boy-next-door approach and Italianate timbre provided more than a hint of romantic flair. Lovely characterisation too by Gaia Petrone as the sadistic Suora Infermiera - obviously relishing every moment of suffering she caused. In a different vocation, this nun is a domina who belongs in black latex and kinky boots.

The ORF Radio Symphony Orchestra under Rani Calderon played accurately, perhaps a touch four-square at times, but generally accommodating of the singers and in apparent harmony with the stage throughout. This is a co-production with Copenhagen - and a definite treat to see all three works united in such a compelling and entertaining evening.

Text © Moore Parker
Photo © Werner Kmetitsch
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