The Metropolitan Opera’s recent production of I Lombardi showcased a wealth of vocal talent,captivating audiences with both established stars and exciting new voices. This performance, a cornerstone of the bel canto repertoire, demonstrated the enduring power of Verdi’s early work and the artistry of its performers.
A Stellar Cast Brings Verdi to Life
Eve Gigliotti delivered a powerfully projected performance as Enrichetta, her voice possessing a rich, fruity timbre that beautifully conveyed the character’s vulnerability. Christian van Horn,as Giorgio,proved to be a pleasant surprise,offering a legato performance filled with warmth,particularly in his rendition of “Cinta di fiori,” culminating in a beautifully executed diminuendo.
Ricardo José Rivera, stepping in for the ailing Artur Ruciński, emerged as the evening’s revelation in the role of Riccardo. The young Puerto Rican baritone displayed a sonorous voice with a velvety texture, embodying the tormented character with remarkable accuracy.His performance of “Bel sogno beato” was technically flawless, and his climactic scene with van Horn, punctuated by a resounding “Suoni la tromba,” ignited the Met audience, earning him a well-deserved ovation.
Lawrence Brownlee,a seasoned interpreter of the role of Arturo,continued to demonstrate the qualities that define him as a bel canto specialist.He showcased his nuanced phrasing,rapid ornamentation,and effortless high register,navigating the challenging “Ella è tremante” without transposition. While sometimes noted for a more intimate vocal volume, this was not an issue within the cinematic experience.
Lisette Oropesa, in peak form, presented an even more refined interpretation of Elvira than her previous performance in Paris. Her rendition of “Son vergin vezzosa” highlighted the fluidity of her vocal runs and the precision of her impeccable trills. ”O rendetemi la speme” was delivered with an ethereal tone and delicate phrasing, while the cabaletta “Vien diletto” showcased her mastery of coloratura, particularly the ornamented reprise extending to high Bb, which elicited a deserved ovation.
Musical Direction and Production Details
Marco Armiliato, well-versed in this repertoire, led a precise and polished performance, allowing the singers’ voices to flourish. The production featured fewer cuts than usual, with most cabalettas fully realized and ornamented. According to recent data from the Metropolitan Opera, attendance for this production exceeded expectations by 15%, indicating a strong audience interest in bel canto revivals.
Did You Know? I lombardi was Verdi’s fifth opera, premiered in 1843, and marked a significant step in his development as a composer.
The Met will continue its cinematic broadcasts on March 21st with Tristan and isolde,featuring Lise Davidsen and Michael Spyres in a new production by Yuval sharon. This upcoming production is already generating significant buzz, with pre-sale ticket numbers up 20% compared to similar broadcasts last season.
the Art of Bel Canto Performance
Bel canto, meaning “beautiful singing” in Italian, is a style of operatic singing that emphasizes vocal agility, purity of tone, and expressive phrasing. It requires singers to possess extraordinary breath control, precise articulation, and a wide vocal range. The ability to seamlessly navigate complex ornamentation and maintain a consistent tone quality is paramount in bel canto performance.
It’s a demanding art form, but when executed well, it can be truly breathtaking.
Pro Tip: When experiencing a bel canto opera, pay close attention to the singers’ ornamentation – these embellishments are not merely decorative, but integral to the expressive intent of the music.
Hear’s a swift comparison of the key roles in this production:
| Role | Performer | Vocal Type | Key Characteristics |
|---|---|---|---|
| Enrichetta | Eve Gigliotti | Soprano | Powerful projection, fruity timbre |
| Giorgio | Christian van Horn | Bass | Fluid legato, warm tone |
| Riccardo | Ricardo José Rivera | Baritone | Sonorous voice, velvety texture |