I must admit to not being entirely comfortable with Rossini - especially comic Rossini - the endless coloratura and interminable crescendi don't really do it for me. I suppose when it boils down to it I like my opera laced with a bit of tragedy and if there isn't at least one dead body by the end of the evening I feel slightly disappointed. However, I do love Joyce's voice and this was her last outing in one of her signature roles so I was prepared to put doubts to one side and dive in.
This was only my second experience of a Met HD broadcast and once again I was not disappointed. The cinema was packed - not a single seat was empty and the audience seemed keen and enthusiastic. There was a lot of laughter and applause during the evening. And not without cause. The opera fairly fizzed along with barely a moment to pause for breath.
The plot is slight but very familiar so it was all about the singing and characterisation for me. I'm not really a bel canto expert but I was really overawed by the vocal skills on display - by all of the cast. There was not a single weak link amongst the performers. This production has been gaining rave reviews in New York, mainly concentrating on the virtuoso tenor skills on display; firstly a 'star is born moment' for Javier Camerena in the role of the Prince and then Juan Diego Florez returning to the role in a case of 'anything you can do I can do better.' Mr Florez was simply stunning, with not a single note out of place and giving a touching performance as the Prince who falls head over heels. In previous performances there have been encores of 'Si, lo ritrovarla.' Tonight, Juan Diego restricted himself to a solo bow to acknowledge the wild applause, perhaps as an acknowledgement that this was Joyce's night after all.
Ms DiDonatao was not outshone in any way and her long partnership with Juan Diego made this special night was all the more special. I'm not sure exactly why she is retiring the role, but surely not for want of technical ability on her part. She was immediately believable and sympathetic as the downtrodden Angelina and the audience were behind her all the way.
The rest of the cast were no slouch in the vocal or dramatic stakes either. Rachelle Dirkin and Patricia Risley as Clorinda and Tisbe were an absolute hoot, even if some of the stage 'business' sometimes descended into farce. Surely it must be far more difficult to perform comic opera as opposed to dramatic? Of the male trio of bassi appearing, Pietro Spagnoli as Dandini was the most impressive for me, with expert comic timing and exhibiting a believable relationship with the Prince he was impersonating. Alessandro Corbelli made light of some taxing patter songs and was believably 'wicked' as Angelina's step-father. I enjoyed Luca Pisaroni as Alidoro but didn't really know what to make of the role. What he did was good but alas all too brief I thought.
The production by Cesare Lievi came across well on the big screen, although I found it a bit sparse and in parts without any recognisable logic to it - although perhaps as a fairly tale it doesn't really need it?
And then at then end of the evening, when the girl has married her prince and all hurts have been forgiven, the real emotion set in. I will admit to a tear in the eye when Joyce acknowledged the applause - all the more so as she looked slightly overcome herself. It must be a difficult decision to give up a much loved role - especially when going on on such a high note. But then perhaps that is the best way...always leave them wanting more!
