Pagliacci
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Photo by Robert Millard
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By Michael Van Duzer
Franco Zeffirelli’s overstuffed production of Leoncavallo’s Pagliacci returned to LA Opera as the second opera in the company’s 20th Anniversary Season. Director Marco Gandini fills the stage with extras who convincingly populate an Italian urban setting right out of I Vitelloni or another early Fellini film. But, if adding vespas, acrobats, and an intermission don’t exactly turn a one-act opera into a full-length evening, they do add a layer of community to this largely intimate tragedy of jealousy and revenge.
Appearing in the leading roles of the cuckolded clown, Canio and his faithless wife Nedda were the current glamour couple of the operatic world, Roberto Alagna and Angela Gheorghiu. Canio is not a natural fit for Alagna, physically or vocally. Younger and better looking than the typical Canio, he is far from a paternal figure to Nedda, and one has to wonder why she feels the need for a lover. More importantly, Alagna is essentially a lyric tenor and, even at one act, the role of Canio tests his voice to its limit. That said, he threw himself into the role with a fervor that was hard to resist. And, if the fact that he was working hard was evident, he sang with great feeling and conviction. Gheorghiu is better suited for her role but seemed a little pressed by some of the slower tempi taken. Her bird aria was glorious, but her duet with her lover Silvio seemed more perfunctory than passionate.
Alberto Mastromarino’s Tonio had some vocal issues with his opening aria (perhaps due to the ponderous tempo enforced by conductor Nicola Luisotti). But he relaxed into the role and proved a creditable singer. Mariusz Kwiecien’s Silvio sang prettily but without much sense of a personality. Greg Fedderly’s Beppe proved the anchor for the supporting roles. Despite the size of the role, he managed to create a three- dimensional character while singing with force, compassion, and clarity.
Conductor Luisotti, as previously mentioned, took his time with the score, arguably adding some heft to the music but often at the expense of the singers.
Dorothy Chandler Pavilion September 11, 2005 – October 1, 2005 LAOpera.com.
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