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SEEN AND HEARD OPERA RELAY REVIEW
MET Live,
Donizetti
La fille du régiment::
Soloists, Chorus and Orchestra of the Metropolitan Opera House,
New York/Marco Armiliato. Barbican Cinema, 26.4 2008 (CC)
Natalie Dessay is simply a phenomenon. The great star of this
production of Donizetti's La fille du régiment, she lit up
the stage by her very presence. Her vocal artistry was almost
beyond criticism, something all the more remarkable when one
considers the physical gymnastics this production requires of her.
Never have I seen anyone do the ironing with such vigour!. Her
pride in the regiment of which she is the mascot was evident from
the very beginning. More, she fitted the part perfectly. Small of
stature yet as powerful and with about as much energy as a
speeding bullet, she delivered her agile lines with no detectable
sense of strain. All the more remarkable, this, considering the
physical demands of the staging, and yet in interview Dessay
claimed that all the moving about helped take her mind off the
vocal hurdles!. The felicitous touches are far too many to
mention. Of particular delight was the imitation gunfire of her
'Rataplan', and it should be noted that her Act 1 farewell aria
was very, very touching indeed.
Juan Diego Flórez took the part of the lover, Tonio. His big
moment comes in the Act 1 aria, 'Ah, mes amis' with its nine top
C's. Flórez seemed to have a William Tell-like aim when it came to
each of these, hitting every one straight in the middle.
Remarkable. Interestingly, earlier in the run he had done
something unheard-of at the Met for the last 14 years – he encored
the aria. No encore this time, alas, but it was stunningly
impressive nonetheless. It is a telling compliment to Dessay that,
no matter how good, how confident Flórez was, Dessay was always a
step above.
Donald Maxwell's Hortensius and Felicity Palmer's impeccably
amusing Marquise de Berkenfield made for a first-class double-act.
How wonderful, too, to see the respected bass Alessandro Corbelli
(try his lovely Guglielmo in the Muti La Scala
Così DVD to explore further). Corbelli has a huge voice, even
when he speaks. Here, as Sulpice (the Sergeant of the 21st
Regiment), he was absolutely in his element. In her element, also,
was Felicity Palmer as the deliciously over-the-top Marquise of
Berkenfield, matched only the the actress Marian Seldes as the
Duchess of Krakenthorp.
The format for this simulcast was the same as that of the recent
Bohème. Renée Fleming was the hostess for the evening,
interviewing the stars and providing peeks backstage. As to the
sound, perhaps my ears have adjusted to the whole screening
concept, but I found perspectives between voices and orchestra
much more natural on this occasion. The Producer and Costume
Designer was Laurent Pelly, who has made a delightful job of it.
Making the Alps out of maps of Europe is a nice touch. Marco
Armiliato was a sensitive conductor who persuaded his orchestral
forces to ooze fizz (the only time we saw him at work was in the
Overture, which he smiled his way through in a kind of Gene
Wilder-ish way).
Next season Met telecasts include a Salome with Karita
Mattila, a Sonnambula with Dessay and Flórez and a
Lucia with Netrebko and Villazon. Quite some prospects. Watch
this space ...
Colin Clarke
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