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Australian Arts Review, 11 August 2023 |
Bill Stephens |
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Ponchielli: La Gioconda, Sydney, 9. und 12. August 2023
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La Gioconda in Concert |
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It was a night of spectacular opera. The spectacle came not from lavish sets
and costumes, but from the glorious voices of some of the best opera singers
in the world, including the legendary tenor, Jonas Kaufmann, making a role
debut, supported by the mighty Opera Australia Orchestra and full Chorus
directed by Pinchas Steinberg.
Without the sets and costumes, with
the opera presented in concert mode, the soloists making their entrances and
exits in front of the orchestra, with the chorus seated in tiered rows
behind; the audience was able to concentrate on the artistry of the singers
and the beauty of Ponchielli’s majestic score, punctuated as it is with
glorious solos, duets and choruses, with surtitles providing the information
necessary to follow the gist of the turgid storyline.
Making her
first Sydney Opera House appearances in the title role of La Gioconda,
Spanish soprano, Saioa Hernandez was absolutely captivating. Tall and
elegant with a commanding presence and silken soprano, Hernandez immediately
established herself as the centre of the opera, among a cast of superb
voices.
Australian mezzo, Deborah Humble as Gioconda’s cherished
mother, La Cieca, charmed with her moving rendition of Voce de donna o
d’angelo.
Mezzo, Agnieszka Rehlis, as Laura Badoero, Gioconda’s rival
for Enzo Grimaldi’s affections shared a thrilling duet with Hernandez, L’amo
come il fulgor creato, in which both women argue as to which has the greater
love for Enzo.
Jonas Kaufmann as Enzo, was certainly worth fighting
over, and while sounding just a little tentative at this performance, still
lived up to expectations by offering a glorious interpretation of his solo
Cielo e mar.
As the hateful Barnaba, Gioconda’s spurned suitor,
French baritone, Ludovic Tezier, thrilled with his threatening presence and
the steely timbre of his voice, particularly with his first act solo O
Monumento.
As Laura Badoero’s husband, Alvise, Ukrainian bass,
Vitalij Kowaljow, chilled with the price he demanded she pay for her
unfaithfulness with his aria Si! Morir ella de!
The concert hall
setting allowed a fascinating view of the care taken by Pinchas Steinberg to
insure each of the soloists was wrapped in the most superbly balanced sound
from the huge orchestra and chorus.
The audience could also share the
joy he took in allowing those same resources let rip at the appropriate
times. This was most evident in the superb rendition of the Dance of the
Hours, which provided an orchestral highlight in the third act.
As
this performance was being presented as a highlight of the 50th Anniversary
of the Sydney Opera House there was a spectacular fireworks display on the
harbour during interval.
However not even the fireworks could match
the stunning vocal pyrotechnics on display in the Sydney Opera House Concert
Hall stage at this unforgettable performance.
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