SEEN AND HEARD INTERNATIONAL

Production Asociación Lírica Luis Mariano in coproduction with Associazione Amici Della Musica di Cuneo and Pierres Lyriques en Verán des Gaves.

 

Director: François Ithurbide.

  

Cast:

 

Amina: Stefania Bonfadelli.

Elvino: Angelo Scardina.

Count Rodolfo: Stefano Rinaldi.

Lisa: Elena Barbé.

Teresa: Ainhoa López Soraluze.

Alessio: Rubén Ramada.

 

 

The Luis Mariano Lyric Association takes its name from the world famous operetta tenor, who was born in Irún; the Association meets, with great enthusiasm, the operatic requirements of this border city of some 65,000 inhabitants. The Association’s opera performances are characterised by their great dignity, bearing in mind the difficulties faced, from a tiny stage to an orchestral space – there is no pit as such – which permits only some 30 players, and a very small budget. In these circumstances, there are two objectives which have to be met. Firstly, productions have to attract the public to the box office; next, this new public has to really enjoy what is put before them. I must say that both objectives were perfectly achieved on this occasion.

 

The big news – and the big plus - concerning these performances of Bellini’s La Sonnambula was the presence of Italian soprano Stefania Bonfadelli in the title role. This singer has lived through some dramatic and difficult circumstances in recent years. Still young (43), some five years ago she was one of the most beloved opera singers in the world, a regular performer at the most important opera houses. However problems in her ear forced her to cancel many bookings and led her to the operating theatre instead Her recovery has been very slow and difficult, so much so that she almost completely disappeared from the stage. This Sonnambula effectively marked Bonfadelli’s return as an opera singer, excellent news both for her and for the wider operatic community.

 

Bonfadelli’s performance as Amina was very encouraging. I found her to be on much better form than the last time I saw her, in Genoa some three and a half years ago, altogether more confident and free of the problems she showed then. She started relatively cautiously and was more restrained on stage than she had been before her problems. However, as the opera progressed she demonstrated more self-confidence and she closed with a spectacular final scene in which she impressed as both singer and actress. A great Amina must move the audience in the last 15 minutes of the opera: Bonfadelli convinced, thrilled, and triumphed. I hope that this Sonnambula will lead to the resumption and continuation of an interrupted career. My impression is that this may happen. The voice is virtually intact, her artistry is still there and one hopes that this performance will have done much for her necessary self-esteem. This, potentially, is great news for the world of opera.

 

Elvino was sung by the young Italian tenor Angelo Scardina, who really only shone at the top of his vocal range. In general he was very inexpressive and his musicality left much to be desired. Stefano Rinaldi sung the role of Count Rudolf and did so satisfactorily.

 

Nicola Giusti conducted effectively the orchestral forces under his baton, though it has to be said that the orchestra is no more than an enthusiastic group of young players. The choir was below the acceptable level.

 

Stage direction was the responsibility of the Frenchman François Ithurbide. Alhough it would be wrong to demand really great things in this particular theatre, it has to be said that it has hosted more interesting productions in the past.

 

The theatre was sold out and the audience showed their enthusiasm from the very beginning of the performance. At the final curtain Stefania Bonfadelli was loudly cheered – and deservedly so.

 

José M Irurzun