#Title bandit verdi opera full#

The same audience was split towards the conductor, and here it is difficult to understand why. It needs an interpreter who makes the character plausible in his evil grandeur, but Massimo Cavalletti, although vocally correct, failed to convince the audience, who in the end proved to be merciless towards him, this time almost unanimously. The most complex character, and in his own way the most interesting, is that of Francesco, the son who converts the resentment of being second-born into hatred.

Even if his character has little memorable music, Pertusi managed to leave a lasting impression through his noble vocal presence and the intensity expressed in the duet with his son.

#Title bandit verdi opera full#

Her performance was cheered by the public, but the full and unchallenged success goes to Michele Pertusi, who took up the role written for Luigi Lablache, Massimiliano. In the role created for Jenny Lind, Lisette Oropesa, in her La Scala debut, demonstrated a magnificent silvery voice, beautiful vibrato and impeccable coloratura. Sartori is appreciated only for the pure line of his singing, his beautiful phrasing, bright high notes and a pleasant timbre, although his diction is not so limpid. One suspects that this director's invention compensates for the lack of stage presence of Fabio Sartori, who sings Carlo, and that somehow this silent figure complements the personality of a character already unconvincing in the libretto and here on stage even less so. Soldiers witness the punishment of one of their number, and later it will be clear that this man is Carlo's alter-ego: always present on stage, he is the good side of the character, reading Plutarch and handing the sword to Amalia to defend herself from the wicked Francesco. In Act 3, the environment bears the signs of decay and the statue is now that of the new lord, who gives himself to orgies and violence. There were curious details though, such as the showers in the background hinting at the bandits' camp, while on the right, on a high pedestal, the Count's statue concealed the crypt where he would be locked up. The scenery, designed by Charles Edwards, recalled the severe environment of the Castle Solitude, where Schiller studied. The evening started in a satisfactory way, even if the director's choice to set the whole story inside the Moor's castle was a little perplexing. But McVicar was not the only one to endure the bias of some spectators, even the conductor and one of the performers were both hissed and cheered. Thus the final results were diversified, with loud dissent towards the director from one part of the public, among many cheers. Previously at La Scala, McVicar has directed Les Troyens with huge success, but now, with I masnadieri, he has aroused the susceptibility of those who believe themselves the repository of the only and true Verdi tradition. For the elegance of his staging, McVicar was compared to the recently deceased Franco Zeffirelli, who was remembered with deep feeling by La Scala's superintendent Alexander Pereira before the performance. This has made him one of the most renowned and in demand opera directors. Massimo Mila even defined it 'Verdi's ugliest opera', but lately the work has enjoyed some popularity, confirmed by this new production at the Teatro alla Scala.Įstablished as a genuinely disruptive director through productions such as the unforgettable Giulio Cesare at Glyndebourne or the shocking Royal Opera Salome, Sir David McVicar has since taken the road of less disturbing stagings by showing great respect for settings and period customs. I masnadieriis not one of Verdi's most popular titles and it was not always judged well the slowness and lack of dramatic intention in the plot and the thinness of the characters are the weak points. © Marco Brescia & Rudy Amisano | Teatro alla Scala