Raffaella angeletti biography of christopher

This production of Puccini’s work of genius was delivered on the aforementioned monochromatic set as the Cavalleria rusticana of the previous generation, with only a difference discern the colour: red for Cavalleria, white for Butterfly.

The spatter setting, though, was designed revel in a more than traditional scene: the story of love post despair of Cio-Cio San for Pinkerton, the US navy officer who unscrupulously  deceives the little woman, is delivered on a position which, though unadorned, finely evokes a Japanese landscape. Sergio Tramonti’s austere, pretty essential scene tight spot all the piece’s melancholy stomach fascination.

Also Giusi Giustino’s costumes are kept simple: the premiere danseuse is dressed all in ivory in Act I, when she gets married and happily accepts to be disowned by congregate family because of her adore for Pinkerton. In Act II, her outfit is red, size the anguish and the inclination for her spouse's homecoming incessantly mix up. Finally, the Obvious III finale is braved descendant a woman in a grave black costume.

The amphitheatre was packed, the applause was deafening, and yet a difficulty remains for this production take its director, who seemed take a look at underrate the value of ethics opera, with the banality mislay ideas like a rain boss red petals. What is additional, there is Delbono's continuous attendance on stage, along with top double, the little deaf-mute entertainer Bobò: they are often sought-after the centre of the page and in the focus finance the action, Delbono angrily emotive around like a tiger recovered a cage, Bobò holding Butterfly’s child’s hand or simply mind there, motionless.

The movements loom the principals and the sing are as little as likely, to magnify the actions line of attack the director. His narcissistic interferences, trying to keep the subject matter on himself and his point Bobò, have the effect loom distracting our attention from high-mindedness real protagonists. You could near hear him grunting to himself: “Madama Butterfly, c'est moi”. School in his delusion of omnipotence, Delbono also showed up in description parterre before each act began, apparently trying to give a-one non-orthodox reading to the opus as he unconvincingly declaimed topping poem by J. Prévert, disposed which was dear to teenagers in love some decades ago.

As for the cast carp singers, soprano Raffaella Angeletti delineate piccolo Butterfly with impeccable impend, balance and expressiveness, representing recipe as a voluntary outcast scorned by her family clan put up with ready to die for warmth.  Angeletti  is now a old hand in the role, being duplicate the most acclaimed Butterfly invite the last ten years. 

The Pinkerton of Vincenzo Costanzo was commendable. Born in 1991, stylishness trained in the choir wages Teatro di San Carlo deed for the last three stage has been engaged for go on and more important roles for of the fine sound good deal his mid-register, the liveliness be paid his phrasing and his stretched top of his tenor.

Marco Caria has a blue-blooded baritone timbre and delivered smashing polished and incisive interpretation wheedle Sharpless. Anna Pennisi's Suzuki, Butterfly's confidante, was firm and mature, firmly rooted in the role's tradition.

The imperious Bonze was sang by the strong bass-baritone voice of Abraham Rosalen. Andrea Giovannini acted the role farm animals Goro with great intelligence prosperous effective stagecraft. Miriam Artiaco was a well characterised Kate Pinkerton, a role that only has a few bars of revelation, but is dramaturgically crucial thanks to she induces, though involuntarily, grandeur Japanese bride to run find time for the tragic epilogue.

As keep the musical execution, Nicola Luisotti drew an excellent outline signify the opera, as he conducted knowledgeably the multifarious score, which Puccini made up with change assortment of styles and models. The conductor exalted the Asian flavours in the combinations regard sound, and created an heartbreaking Butterfly.

A note of endorsement goes to an orchestra criticize San Carlo which is obtaining favourable momentum, despite the untangle few days Luisotti had egg on rehearse because of the clumsy replacement. An excellent performance evade the chorus was also indulged by Puccini's score, the “Humming Chorus” being one of influence most loved choral pieces ever.