Among other operas that Verdi created in the same time period (Rigoletto, Traviata) Stiffelio is the least popular even though it does not lack of great music. Personally I’m very glad to have the chance to see this rarely preformed opera on stage. The staging is more or less by the book. The set resembles an industrial construction site with some characteristics of a church. I find the orange/earthly brown/black colour scheme of the set, contrasted with blue lightning , very aesthetic and it forms with the simply cut costumes a great unison. The concept of the “church-under-construction-equals-human-society-in-progress” is actually interesting. Unfortunately, the claw of a power shovel in Stiffelio’s study (act 3) kills it. Csaba Antat (the set designer) has definitely gone too far in this case. Besides this, the rest of the production is not as bad as I’ve feared.
As usual, the music saved the night. Stefano Ranzini’s conducting preserved the dramatic tension of this rather unspectacular opera throughout the evening. And the cast was fantastic. In an opera about a preacher forgiving his adulterous wife, Jose Cura did not have much chance to pull off his characteristic over-dramatic stunts, but all his energy poured into his singing which resulted surprisingly well. Subtlety was what I always liked/wished to see in Cura’s performances and indeed he proved that he could be subtle if he chose to. Emily Magee playing Stiffelio’s remorseful wife who committed adultery in a moment of weakness established herself as an outstanding soprano in the German Fach so far. Here she demonstrated that she can sing Verdi just as well as she did Korngold and Wagner. Her middle register is full and strong; the top notes are excellent and her heavy voice has the flexibility to sing those Verdian coloraturas with ease. That was a very impressive performance. She really has the potential to become a great Leonora if she ever decided to include this challenging role in her repertoire.
Leo Nucci, a much appreciated and adored baritone not only by the OZ audience but all over the world, gave a stunning performance of a strict and old father who would rather die than live in shame. He, IMHO, is just perfect for these fantastic Verdian father roles. Among the first rated cast the newcomer Günther Groissböck who sang Stiffelio’s assistant Jorg, was not to be overlooked. Solid technique, a warm and beautiful voice and he knows how to move on stage. Probably in a few years, he would be the leading bass of his generation.
local reviews:
http://www.impresario.ch/review/revversti.htm
