“LA FAVORITE” -- COMPELLING PERFORMANCE OF DONIZETTI’S FRENCH MASTERPIECE This is a live performance at the Theatre du Capitole, Toulouse, France, taped in February 2014. THE CAST: Léonor de Guzman: Kate Aldrich; Fernand: Yijie Shi; Alphonse XI: Ludovic Tézier: Balthazar: Giovanni Furlanetto; Don Gaspar: Alain Gabriel; Inès: Marie-Bénédicte Souquet; Chorus and Orchestra of the Théâtre du Capitole. Conductor: Antonello Allemandi. Not many recordings of this wonderful opera in the original and superior French version exist. The most recent is the 1999 RCA production with Kasarova, Vargas, Giaiotti, Michaels Moore, under the baton of Marcello Viotti. With some impressive moments, this recording is weak because the title-role is unfortunately unconvincing. Additionally the French of these singers is not always the most idiomatic. This plight, with only minor exceptions, does not affect the 2014 Toulouse production. The major asset of this Favorite is the conductor Antonello Allemandi who is able to extract the best from his forces. This score, often disfigured in the more familiar Italian version, is restored here to its stunning beauty and Maestro Allemandi is particularly adept in displaying all the finery, riches and delicate nuances of this Donizetti masterpiece. It is obvious that such a conductor has a very positive influence on the singers too. All the high climaxes are breath-taking and cause repeated frissons. Ideally, this is a love-triangle opera where all four major roles are sung by highly gifted singers; some compromise is acceptable as long as it does not affect the tenor and mezzo-soprano. Fernand, in fact was created for Gilbert Duprez, the first “tenore di forza” and first king of high Cs, and Leonor was tailored by Donizetti for Rosine Stoltz, a mezzo who could venture in the contralto tessitura. Duprez paid a high price for his “forza” and by 1840, when La Favorite premiered in Paris, his voice was rapidly deteriorating. Stoltz, on her part, was the mistress of the Paris Opera director and suffered from stage fright. Kate Aldrich as Leonor has some of Stoltz’ better qualities, such as very dark nuances so rarely heard in this exceedingly difficult role. Her diction would be perfectly acceptable were it not for finding herself next to a tenor and, more so, a baritone with impeccable pronunciation. The men’s great subtelty displayed in the delivery of their lines makes Aldrich’s weaknesses more apparent. Vocally, she did not spare herself and rarely forced her resources and in this respect she is an exception in our days when some mezzos think that “anything goes”. As an actress she is unable to fully conquer the complexities of Leonor – the king mistress who has a crush on Fernand -- a novice at the Monastery of Santiago de Compostela, who in turn unconditionally reciprocates her love without actually knowing who she really is. Fools rush in... Shanghai-born tenor Yijie Shi is so young and innocent-looking that he makes Leonor look like a Jezabel – the name the father superior of the monastery, Balthazar, actually uses to describe her in Act II. After making a name for himself at the Rossini Opera Festival in Pesaro, Shi is now testing new and rather arduous terrain. Fernand is a role that few tenors would touch, now or in the past. Vocally speaking, Rossini has surely been very useful to him, and it shows. However, Shi never produces the squawk of a capon on the chopping block – Rossini’s description of Duprez’ high C. This Chinese tenor does not resort to blatant falsetto, however the great finesse in delivering his lines is reminiscent of tenors like Tito Schipa – and he should continue on that path and not force his voice too much. He could become the next Alfredo Kraus, but he needs to be extremely careful in his repertory and career choices. Ludovic Tezier is a very impressive Alphonse – a true grand seigneur baritone of the old school, with a marked timbre and all the inflections and subtlelties typical of great singers. Actually, he almost steals the thunder. He does not have the cello like legato of a Giuseppe De Luca, but his mastery places him very high in the operatic Olympus. It is hard to believe that there are still artists of his caliber, these days. Giovanni Furlanetto as Balthazar, displays a convincingly hieratic demeanour, and although his role requires a more earth-shaking voice there are quite a few good qualities that are welcome trade offs. His big moment – the Act II finale – shows his talent at its finest and he is able to stand out without too much effort. Souquet’s Ines is pleasant, and the comprimarios are equally satisfactory. It would be nice if this performance is produced and marketed in dvd format. The sound quality is remarkably excellent. https://youtube/watch?v=nBo4tbuOp20
Posted on: Sun, 22 Jun 2014 00:06:14 +0000
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