SEEN AND HEARD INTERNATIONAL

Donizetti, Anna Bolena: Soloists,  Orquesta Sinfónica de Euskadi. Coro de Ópera de Bilbao, conductor: Keri-Lynn Wilson, Palacio  Euskalduna de Bilbao. 20.10.2007 (JMI).

 

Production from Teatro Comunale di Bologna and Opera Montecarlo.

 

 

Directors: Jonathan Miller (original) Gianfranco Ventura (Revival)
Sets: Roni Toren
Costumes: Claire Mitchel
Lighting: Robert Bryan

Cast:
Anna Bolena: June Anderson.
Giovanna Seymour: Marianne Cornetti
Riccardo Percy: José Bros
Enrico VIII: Chester Patton
Smeton: Marita Paparizou
Lord Rochefort: Christophe Fel
Hervey: Jon Plazaola

 

 

Today belcantismo seems not enjoy the favour of many artistic director. It is more and more difficult to see operas by Donizetti, Bellini and Rossini, aside from the few works belonging to the main repertoire. If there is a city in Spain with bel canto tradition, this is certainly Bilbao and so  ABAO has programmed  two titles like Anna Bolena and Poliuto this season, which might be a unique case, or very nearly.

The problem with bel canto operas is that they need very good to be effective and nowadays this presents two big difficulties. To begin with, there is obviously a huge shortage of available productions, which means that companies must launch new productions themselves with consequent budget problems. Secondly, conductors are becoming more and more strangers to the style, since they have few opportunities to get to know it. Finally, bel canto singers are becoming museum pieces and very few know how to sing it well. Nevertheless, when these operas are presented properly, the public loves them, because at the end of the day the big attraction of opera remains fine voices. When  writing about  Thaïs  a few days ago I said,  that without an exceptional protagonist the work falls flat. Something similar  happens with Anna Bolena too, in which success depends -  if not totally but  to a great extent - on the soprano,  although this opera also needs a further trio of great singers as well the queen. Bilbao’s Anna Bolena can be considered as somehow unusual, having lacked the necessary quality of  protagonists  to become a triumph.

The production has an elegant set, consisting of a series of massive blocks in neutral colours which change positions to create, theoretically, different atmospheres. I say theoretically because, in general, this doesn't always happen, leaving a general feeling of monotony and excessive reiteration. The Tudor costumes are attractive, in striking colours, particularly Bolena’s several dresses. There is also very good – and  brighter -   lighting than we are used to in Donizetti tragedies.

 

Gianfranco Ventura’s direction was not quite what is required in today's theatre. Much of it ask the singers to 'stand and deliver' and there is little imagination or life in the movement of the chorus and extras. All in all, the production was like attending an opera performance in the 60s. The world of opera direction has changed a lot  from those days (sometimes too much) and we require  more energy in a opera production now.

Musical Direction was in the hands of Canadian Keri-Lynn Wilson, who returned after her Bohème three years ago. She offered an almost complete version of the opera, including the overture, the prison scene and the restoration of some traditional cuts. She is not a consummate  belcanto specialist  however (a species nearing extinction) and her reading felt rather flat, with slow tempi in general and some imbalances between pit and stage. Having said this. She was very helpful to the singers, accompanying them with great care, particularly in the second half of the opera. The Euskadi Orchestra was rather off form, below their recent standards of  theatre performances but the chorus work from the women's voices was splendid: the men were not on the same level, and had quite a few problems in the trial scene.

The ill fated Queen was June Anderson whose interpretation was more inclined towards showing a resigned, wretched and weak queen rather than an ill-treated victim fighting for her dignity. Though a matter  of taste of course, this is a valid portrayal, though personally I prefer a feistier Anna Bolena, showing strength against the false accusations that take her to the scaffold. June Anderson is not quite the great soprano of a few years ago: her middle range has lost brightness and the highest notes are not the same as formerly. In the two years between her Maometto II and this  Anna Bolena, both in Bilbao,  there was a clear decline. On the other hand, it was clear to me on more than one occasion that she had health problems, although no announcement was made. She was rather  disappointing in her cavatina, improved in the duet with Percy, but again seemed short of strength in the first act closer “Giudici ad Anna."  Confidence improved in the scene with Seymour and she gave a wonderful final scene, in which we were regailed with the great June Anderson of the past. Her interpretation of “Al dolce guidami” was breathtaking and worth the whole opera, completely impossible to improve. An irregular performance then, with many magical moments from one of the greatest sopranos of the last 20 years.

Her rival Giovanna Seymour, was American Marianne Cornetti, who replaced Sonia Ganassi, originally cast in the role at short notice. Marianne Cornetti made a perfect replacement, giving a most convincing performance in every sense. Always powerful, with excellent adaptation to bel canto style, she managed to displace any memories of Ms  Ganassi on this occasion.

That José Bros is today the tenor of reference in this type of repertoire is something agreed by many opera lovers. The fact that he insisted on singing the difficult prison scene of the prison, says much about his quality, self-confidence and professionalism. Bros made a very convincing Percy throughout the whole opera, singing “Vivi tu” and the following cabaletta with exquisite taste: a truly outstanding performance.

American Chester Patton was a below par Enrico VIII, considering his age and his vocal qualities.  Fundamentally, he lacked the volume and vocal authority to face the exigencies of the part, and was the weakest in an outstanding quartet of protagonists. But then,  Enrico is never an easy part to cast.

As is usual in Bilbao, the theatre was sold out and  at the final bows, there was a very warm reception for Bros, Cornetti, Anderson and Keri-Lynn Wilson. This was the first time in the 22 years since June Anderson’s debut in Bilbao that her performance was less than a great personal success. She didn't look too happy.

José M. Irurzun