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Chatterton, R. Leoncavallo (S. Screen, Bongiovanni, 2008)

Title Chatterton
composer Ruggiero Leoncavallo
Director Silvano Screen
Label Bongiovanni
Price € 36.90

Chatterton is undoubtedly a work that should be heard. Why? The main reason: the first consisting of Leoncavallo, although the various problems have overshadowed for 20 years. And so we approached listening to this product, interested in different aspects. A director who is not your typical director. The same goes for the performers and the label. A product out of the usual things, in fact. Some

account of the work in general, first of all.
We have said that is the first of Leoncavallo. And it feels, it is to admit it. Also in this work, as in many other occasions, the composer is also the author of the book and we have to admit that maybe is not really his forte. Something is missing, and you notice right away. Lacks the ability to make something that even poetic prose works fine. And we realize it in the melodies, which can not follow the text to go with the harmony. It all seems a bit 'loose, as if music and words to go forward at different times. Quite different to the discourse general orchestration at the highest level, with the best times reserved the duets where Leoncavallo lets go his talent and the melodic vein that distinguishes the best work.
The story is one that suffers most. Everything seems too rushed. We are already in the drama but most do not live it, but the original text, by Alfred de Vigny is famous for its emotional charge, the strong characterization. Here is lacking a bit 'of it all and the story is told simply, without high peaks of emotion, without wrapping the listener. Out of place we found the presence of Henry, the child. Little interest in carrying out the plot, and difficult to make (that is, the soprano Enrica Bassano certainly did not shine with its interpretation).
on quality, but sufficient as a whole, we must say that the three acts are very well end this level and help to move forward. A play that does not overwhelm, but not bored. You could do better, of course. But always remember that it is the work of onset.

Interpreters. We must say that everyone is defending well enough and maybe it helps in the recording studio. Bassano's already mentioned (and specify that it is very good, but suffers from a role that perhaps this quote is a bit 'forced). Good performance by Maurizio Zanchetti and Fabrizio Blacks, in the roles of George and Lord Clifford, and Tiziana Scaciga Della Silva in the role of Jenny, while negative note for Renato Zuin , tenor in the lead role. We felt it was in difficulties in interpretation. Lots of voice, of course, but always poorly dosed with little nuances and changes suddenly when we expected growth curves are more controlled. Affected by other evidence, but rejected this interpretation, definitely.

not perfect choices to handle the volume, with some items that sometimes jump on the others and in this study could certainly manage better. Do not read the excellent letter from Chatterton (but read Zuin? It was not clear, like a voice mail). The lowest moment of the whole work, perhaps through no fault of Leoncavallo, but the post-production work, no doubt.

Booklet. Very little information. A little 'story of the composer and his work and text in two languages \u200b\u200b(but this is of little interest to us, after all was the Italian version). Hard compredere why the characters are the Dictionary of the work do not coincide with the names of the booklet of this release. Chosen by the composer? Yes, but when? One of the many versions? Why this choice? We are left with dozens of questions that no one breaks up.

Final comment. Opera
not excellent. But there may be. Interpreters
not all in form, but overall levels of sufficiency.
thin booklet.
seems strange, but overall it's mouth around this product. Then we
price. Almost € 40. And then something does not come back. In fact if you really want to find a weakness that is what we think. Excellent overall work of the director who, we later discovered, is very attentive to the rediscovery of works fell into oblivion. That said, given the situation and "funds" Italian, you could not wait for a first class product. The resources were well spent, and so we could listen to a work that would otherwise have been lost over time. Thanks then to the Master Screen. For the future we want a little effort publisher, record label. The price is too often the balance. Imagine that many people have decided not to buy this right because they are too greedy. Maybe with something less than the service opera was finished. Not so. Putting his hand to the overall vote, enough to give a good product, because thanks to the kindness of the Master we have explored the difficulties of such a realization. Eventually, as we have been pointed out, we could hear the Chatterton. Before undertaking Silvano Screen would not have been possible. So thank you Master.

Rating: 6.5

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"Pelleas et Melisande" - From October 2 to 9

From October 2 to 9 Opera
Debussy back twenty-five years
with "Pelleas et Melisande"
founder of the opera of the twentieth century

Gianluigi Gelmetti
DIRECTED THE ORCHESTRA AND CHORUS OF TEATRO

Scene of the sculptor Anish Kapoor,
directed by Pierre Audi and lighting by Jean Kalman

back after five decades Rome in the work of the watershed of the opera 900: Pelleas et Melisande, the key title of symbolism, one music drama completed by Claude Debussy, goes on stage 2 to 9 October at the Teatro dell'Opera. Gianluigi Gelmetti is to conduct the Orchestra for a decade entrusted to his hands and Chorus prepared by Andrea Giorgi, in co-production a year ago he opened the season at the Theatre Royal de la Monnaie in Brussels. The exhibition bears the stamp of the original three strong personalities on the world stage: the Franco-Lebanese director Pierre Audi, the sculptor Anish Kapoor and Anglo-Indian, the Parisian Jean Kalman, a maker of expensive lights to masters such as Brook, Carsen and Stein. The vision of the audience is captured by a huge red object that changes its position and thanks to a turntable during the course of history, multiplying sensuality and magic, and from which the performers enter and exit. Kapoor's work - the tribute in London these days with a large retrospective exhibition of the homage due to one of the most significant contemporary visual artists - is an attractive more for a performance-event: Pelléas et Mélisande was seen in the Capitoline temple in fact seven times in a century.
The opera in five acts and twelve paintings debuted at the Opéra Comique in Paris on April 30, 1902: it was a performance marked by the bitter dispute incited by the Belgian playwright Maurice Maeterlinck, whose eponymous prose with some cut Debussy became the booklet, offended by a refusal to choose his former partner as a soprano role. It was not much better then 28 March 1909 in the first performance at the Teatro Costanzi in Rome, recalled for the final whistle and shouting continued. But elsewhere Pelleas et Melisande had become an alcoholic acclaimed, overcoming the opposition of the most fanatical Wagnerian.
costumes by Patrick Kinmonth. Didier Kerstens works director, Agostino Angelini to the design of the lights. Entries ranking Italian and international scene, including an imposing three main roles Monica Pods and Nathalie Manfrino, Massimiliano Gagliardo and Jean-François Lapointe, Enzo Capuano and Jean-Philippe Lafont. Seven plays, in the original language sovratitoli. The "first" Friday, October 2 at 20:30 (subscribers shift A), Saturday 3 to 18 (session D), Sunday 4 to 17 (session E), Tuesday, 6 (session B), Wednesday, 7 (non-subscription), Thursday, 8 ( C round) and Friday 9 (non-subscription) always 20.30.
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