ロイヤルオペラでドニゼッティの「愛の妙薬」を見ました。
今回はロイヤルオペラハウスの最上階、それまた最後列の立見席から観劇。しかし、チケットはなんと￡８。映画より安い。最上階最後列と言っても、双眼鏡があれば歌い手さんの表情は手に取るように分かるし、音楽も十分聞こえます。立ち見も最近パブで立つことは鍛えられているので苦になりません。かえって、寝ないから集中して見られます。よって、コストパフォーマンスは最高です。
前回みたのがワーグナーだったので、今日は楽しく、愉快なオペラで良かった。ドニゼッティの傑作と言われるだけあって、ユーモラスなストーリーに加えて、甘美な音楽を十分に楽しむことができました。
特に主役のNemorino役を務めたGiuseppe Filianotiはその甘いとろけるような声が最高です。テノールのアリアの中でも相当有名な第２幕の「人知れぬ涙」は、うっとり聞惚れてしまいます。声量の大きさよりも声の柔らかさで聴かせるテナーです。演技も素朴でナイーブな村の若者を見事に演じていました。
Adina役のDiana Damrau（昨年末の「ヘンデルとグレーテル」のグレーテル役でも出てました）も良かったです。高温が綺麗に伸びていて、こちらもうっとりです。
脇役陣の中では、Dulcamara役のSimone Alaimoが良かったです。声の大きさでは群を抜いてました。舞台全体をとっても引き締めてくれたと思います。
日本人のGiannett役の中村絵里さんも好演だったと思います。第２幕のネモリーノに莫大な遺産が転がり込むという噂を村の娘たちに広める場面とかは、表情豊かな演技と綺麗な高音の声を聴かせてくれました。（下の写真の前列左端が中村さんです）
しいて？を上げると、時代設定が良く分からなかったです。全体の雰囲気は一昔前の田舎なのですが、お姉さんの服装がやたら現代風だったりする人がいたりして、演出が一貫性に欠けるような気がしました。
全体としては十二分に満足です。とっても楽しい気分で劇場を後にすることができました。（★★★★☆）
L'elisir d'amore
The Royal Opera
15 May 2009 19:30
Credits
Composer: Gaetano Donizetti
Director: Laurent Pelly
Costume Designs: Laurent Pelly
Set Designs: Chantal Thomas
Lighting: Joël Adam
Performers
Conductor: Bruno Campanella
Adina: Diana Damrau
Nemorino: Giuseppe Filianoti
Dulcamara: Simone Alaimo
Belcore: Anthony Michaels-Moore
Giannetta: Eri Nakamura
※5/16追記
FT紙の批評は結構厳しいものでした。（www.ft.comから引用）
L’elisir d’amore, Royal Opera House, London
By Andrew Clark
Published: May 13 2009 20:35 | Last updated: May 13 2009 20:35
Like the elixir of love, the potion for a good performance involves a mixture of ingredients that does not always work as planned. Take the Royal Opera’s L’elisir d’amore. Originally staged by Laurent Pelly in 2007 and now reprised by Daniel Dooner, it engagingly modernises Donizetti’s comedy without destroying the naive charm at its heart. It has at its centre an American soprano whose career is on a sharp upward curve. It also musters two Italians on stage and another in the pit – surely a recipe for success.
Maybe the elixir needs another stir: on the evidence of Tuesday’s opening night, this revival has solidity but not much sparkle. In Bruno Campanella it boasts a conductor with a lifetime’s experience of Ottocento style, who keeps the music buoyant and lyrical while giving the singers space to shape their phrases. And in Simone Alaimo we recognise a bass whose patter runs easily without lapsing into vulgarity or routine: this Dulcamara knows exactly how to take an audience into his confidence.
Giuseppe Filianoti is as yet a Nemorino of uncertain quality. The voice is defined more by what it lacks – elegance, finesse, variety of tone-colour – than by its positive, Italianate lineage: “Quanto e bella” was subfusc, and it took until “Una furtiva lagrima”, well into the evening’s second half, for Filianoti to relax. Diana Damrau’s Adina, by contrast, stamped her presence on the show from the start: she has just the right sort of spunky, bossy-boots personality to take centre-stage without larding on the minx mannerisms that other sopranos indulge in to compensate for their technical deficiencies. All Damrau needs now is a degree of charm and sweetness in the voice, and a little more vulnerability.
But the two most apt performances came from the least expected sources. I’ve never thought of Anthony Michaels-Moore as much of an actor, but his Belcore was a real comic turn: it had swagger and style – far more than his stock Verdi roles. And it’s rare for Giannetta, the smallest singing role, to garner any profile – but Eri Nakamura shone. ★★★☆☆
※Timesも厳しいです
May 14, 2009
L’elisir d’amore at Covent Garden
Filianoti is fearless in pursuit of self-deprecating laughs
Neil Fisher
The world needs a new batch of tenors, and we need them now. So Giuseppe Filianoti’s appearances with the Royal Opera as the lovesick peasant Nemorino in Donizetti’s Elixir of Love are timely. The young Italian has recently been pushed further into the spotlight by the indisposition of Rolando Villazón; with the world’s opera houses scrabbling around for a replacement, Filianoti has been filling his calendar.
It’s certainly hard to imagine one of the Royal Opera’s more distinguished Nemorinos, Luciano Pavarotti, throwing himself into the part as much: Filianoti is fearless in pursuit of self-deprecating laughs, whether flailing hopelessly around Diana Damrau’s preening Adina or hurling himself up and down the giant haystacks of Laurent Pelly’s manic staging. But manic and bel canto is a tricky mix, and Filianoti doesn’t quite match one up to the other. It’s an appealing voice, but there’s a bumpiness to the production, and on first night those high notes were squeezed and reedy; ardent as Una furtiva lagrima was, it felt effortful.
Pellyhas to share some of the blame for that. As revived by Daniel Dooner, his staging is certainly big on visual chuckles: mopeds and tractors scoot across the stage; so does a determined terrier, a sly riposte to the pomposity of greasy Dr Dulcamara (Simone Alaimo), the man whose fake elixir (it’s just plonk) ends up wreaking its own sort of magic after all.
Yet, like Filianoti’s performance, it ends up overemphatic. Does Pelly trust in the realism of his 1950s setting or not? Relentless semaphore from the chorus — they play to us, not anyone on stage — starts to grate, as does the frenetic lighting . Real characterisation suffers: Anthony Michaels-Moore’s stentorian Belcore is a cipher, and the irrepressible Alaimo allowed his usual opera buffa devices (dancing, prancing, squeaking), which dilute the overall energy rather than boosting it. For pure, spontaneous tenderness, it’s actually Eri Nakamura’s sweet Giannetta who comes closest.
Yet there’s five-star sparkle here, too. Damrau needs a director who can tame her pouts, but she fields Donizetti’s lyrical lines with sumptuous, graceful ease. And Bruno Campanella conducts with great warmth and brio, giving us back some of the missing chiaroscuro. You’ll have fun — but knock back a few elisirs in the interval.
今回はロイヤルオペラハウスの最上階、それまた最後列の立見席から観劇。しかし、チケットはなんと￡８。映画より安い。最上階最後列と言っても、双眼鏡があれば歌い手さんの表情は手に取るように分かるし、音楽も十分聞こえます。立ち見も最近パブで立つことは鍛えられているので苦になりません。かえって、寝ないから集中して見られます。よって、コストパフォーマンスは最高です。
前回みたのがワーグナーだったので、今日は楽しく、愉快なオペラで良かった。ドニゼッティの傑作と言われるだけあって、ユーモラスなストーリーに加えて、甘美な音楽を十分に楽しむことができました。
特に主役のNemorino役を務めたGiuseppe Filianotiはその甘いとろけるような声が最高です。テノールのアリアの中でも相当有名な第２幕の「人知れぬ涙」は、うっとり聞惚れてしまいます。声量の大きさよりも声の柔らかさで聴かせるテナーです。演技も素朴でナイーブな村の若者を見事に演じていました。
Adina役のDiana Damrau（昨年末の「ヘンデルとグレーテル」のグレーテル役でも出てました）も良かったです。高温が綺麗に伸びていて、こちらもうっとりです。
脇役陣の中では、Dulcamara役のSimone Alaimoが良かったです。声の大きさでは群を抜いてました。舞台全体をとっても引き締めてくれたと思います。
日本人のGiannett役の中村絵里さんも好演だったと思います。第２幕のネモリーノに莫大な遺産が転がり込むという噂を村の娘たちに広める場面とかは、表情豊かな演技と綺麗な高音の声を聴かせてくれました。（下の写真の前列左端が中村さんです）
しいて？を上げると、時代設定が良く分からなかったです。全体の雰囲気は一昔前の田舎なのですが、お姉さんの服装がやたら現代風だったりする人がいたりして、演出が一貫性に欠けるような気がしました。
全体としては十二分に満足です。とっても楽しい気分で劇場を後にすることができました。（★★★★☆）
L'elisir d'amore
The Royal Opera
15 May 2009 19:30
Credits
Composer: Gaetano Donizetti
Director: Laurent Pelly
Costume Designs: Laurent Pelly
Set Designs: Chantal Thomas
Lighting: Joël Adam
Performers
Conductor: Bruno Campanella
Adina: Diana Damrau
Nemorino: Giuseppe Filianoti
Dulcamara: Simone Alaimo
Belcore: Anthony Michaels-Moore
Giannetta: Eri Nakamura
※5/16追記
FT紙の批評は結構厳しいものでした。（www.ft.comから引用）
L’elisir d’amore, Royal Opera House, London
By Andrew Clark
Published: May 13 2009 20:35 | Last updated: May 13 2009 20:35
Like the elixir of love, the potion for a good performance involves a mixture of ingredients that does not always work as planned. Take the Royal Opera’s L’elisir d’amore. Originally staged by Laurent Pelly in 2007 and now reprised by Daniel Dooner, it engagingly modernises Donizetti’s comedy without destroying the naive charm at its heart. It has at its centre an American soprano whose career is on a sharp upward curve. It also musters two Italians on stage and another in the pit – surely a recipe for success.
Maybe the elixir needs another stir: on the evidence of Tuesday’s opening night, this revival has solidity but not much sparkle. In Bruno Campanella it boasts a conductor with a lifetime’s experience of Ottocento style, who keeps the music buoyant and lyrical while giving the singers space to shape their phrases. And in Simone Alaimo we recognise a bass whose patter runs easily without lapsing into vulgarity or routine: this Dulcamara knows exactly how to take an audience into his confidence.
Giuseppe Filianoti is as yet a Nemorino of uncertain quality. The voice is defined more by what it lacks – elegance, finesse, variety of tone-colour – than by its positive, Italianate lineage: “Quanto e bella” was subfusc, and it took until “Una furtiva lagrima”, well into the evening’s second half, for Filianoti to relax. Diana Damrau’s Adina, by contrast, stamped her presence on the show from the start: she has just the right sort of spunky, bossy-boots personality to take centre-stage without larding on the minx mannerisms that other sopranos indulge in to compensate for their technical deficiencies. All Damrau needs now is a degree of charm and sweetness in the voice, and a little more vulnerability.
But the two most apt performances came from the least expected sources. I’ve never thought of Anthony Michaels-Moore as much of an actor, but his Belcore was a real comic turn: it had swagger and style – far more than his stock Verdi roles. And it’s rare for Giannetta, the smallest singing role, to garner any profile – but Eri Nakamura shone. ★★★☆☆
※Timesも厳しいです
May 14, 2009
L’elisir d’amore at Covent Garden
Filianoti is fearless in pursuit of self-deprecating laughs
Neil Fisher
The world needs a new batch of tenors, and we need them now. So Giuseppe Filianoti’s appearances with the Royal Opera as the lovesick peasant Nemorino in Donizetti’s Elixir of Love are timely. The young Italian has recently been pushed further into the spotlight by the indisposition of Rolando Villazón; with the world’s opera houses scrabbling around for a replacement, Filianoti has been filling his calendar.
It’s certainly hard to imagine one of the Royal Opera’s more distinguished Nemorinos, Luciano Pavarotti, throwing himself into the part as much: Filianoti is fearless in pursuit of self-deprecating laughs, whether flailing hopelessly around Diana Damrau’s preening Adina or hurling himself up and down the giant haystacks of Laurent Pelly’s manic staging. But manic and bel canto is a tricky mix, and Filianoti doesn’t quite match one up to the other. It’s an appealing voice, but there’s a bumpiness to the production, and on first night those high notes were squeezed and reedy; ardent as Una furtiva lagrima was, it felt effortful.
Pellyhas to share some of the blame for that. As revived by Daniel Dooner, his staging is certainly big on visual chuckles: mopeds and tractors scoot across the stage; so does a determined terrier, a sly riposte to the pomposity of greasy Dr Dulcamara (Simone Alaimo), the man whose fake elixir (it’s just plonk) ends up wreaking its own sort of magic after all.
Yet, like Filianoti’s performance, it ends up overemphatic. Does Pelly trust in the realism of his 1950s setting or not? Relentless semaphore from the chorus — they play to us, not anyone on stage — starts to grate, as does the frenetic lighting . Real characterisation suffers: Anthony Michaels-Moore’s stentorian Belcore is a cipher, and the irrepressible Alaimo allowed his usual opera buffa devices (dancing, prancing, squeaking), which dilute the overall energy rather than boosting it. For pure, spontaneous tenderness, it’s actually Eri Nakamura’s sweet Giannetta who comes closest.
Yet there’s five-star sparkle here, too. Damrau needs a director who can tame her pouts, but she fields Donizetti’s lyrical lines with sumptuous, graceful ease. And Bruno Campanella conducts with great warmth and brio, giving us back some of the missing chiaroscuro. You’ll have fun — but knock back a few elisirs in the interval.
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