I due Foscari is one of the works composed by Verdi in the so-called "galley years". So the composer himself referred to the seven years in which he composed no less than eleven operas. Does not about, much less, one of his best works. Not even the best known. But there is something in I due Foscari so that it is represented more times than its quality and position in the repertoire grant it.
Maybe thanks to time and perspective, taking into account the later works of the Italian master, is positioning itself better.
The characters of this drama "family” Romantic (father, son and daughter-in-law) they have a strong personality. Some of them, specifically that of Jacopo Foscari, caused discrepancies between Verdi and his librettist Francesco Maria Piave. The faintness of the character, together with its scarce presence throughout the work, led Verdi to ask Piave for some important changes. The end result was a greater weight of this character from the beginning of the work and its prominence in some of the most beautiful vocal pages.
The representations that these days can be seen in the Teatro Real They are in concert version. O, more concretely, semiescenificada. Given the dramatization capacity of a very powerful group of singers who show that the absence of scenography, does not prevent a magnificent operatic performance.
The musical direction Pablo Heras-Casado has an energetic effect on the orchestra, the singers and the work itself. From the overture, the vigor with which Heras-Casado interprets the score is evident. With this same strength he directs some singers who fill his performance with nerve and tension. There are moments of peculiar beauty in the duets and quartets of violin and cellos performed by the soloists..
Lucrecia Contarini, Jacopo Foscari's wife, is interpreted by Angela Meade. This American from Washington performs vocally and dramatically under the strictest canons of traditional opera, although she suffers from a certain automatism. But what is really impressive is the stratospheric volume of his voice. Characteristic that did not prevent him from offering some very well-made philatos. The vibrations it emits, at least when listening to it from the third row, impress. As he demonstrated from the start with Tu al cui sguardo onnipossente ...
Michael Fabiano
The American tenor Michael Fabiano returned to the Teatro Real, as Jacopo Foscari. Much has evolved his voice since that Cyrano de Bergerac of 2012.
With a remarkable volume of voice and a tessitura more of spinto than of dramatic tenor, Fabiano has built a dramatic and desperate Jacopo Foscari. Fantastic in his romances, especially in the second, Night, perpetual night!. Very demanding for tessitura and drama and that Fabiano solves with taste and eloquence.
Before your intervention, was kind enough to answer some questions for Brío Clásica.
It wasn't until he got to college and started his studies, when he realized the enormous potential that his voice had. It was at that moment that he started his career.
Classic verve.: In its same position, Who are the singers you notice?
Michael Fabiano.: Aureliano Pertile, for the insurmountable magnitude of his technique. Mario del Monaco, for their commitment to interpreting. Franco Corelli, for his heroism and Plácido Domingo, for his deep passion and expertise.
B. C.: How do you feel when you are compared to a young Pavarotti?
M.F.: I feel a deep humility.
B. C.: It is not the first time that he sings with Plácido Domingo, How is this experience?
M. F.: It is an honor for me, taking into account his enormous career and his immense legacy.
B.C.: His roles as Rodolfo in La Bohéme and Luisa Miller have been widely accepted by the public. What other roles do you see yourself playing in the future?
M. F.: I see myself in operas like Un Ballo in Maschera, Simon Boccanegra , Attila, Ernani, The Battle of Legnano, Mefistofele , Manon, Werther, Romeo and Juliet o Carmen.
Soon we will enjoy it again in Spain.
The baritenor, as he calls himself, Placido Domingo, it was one of the biggest attractions of the night, interpreting to Francesco Foscari. The discussion on the tessitura of Plácido Domingo must cease to exist. Is an artist. A great artist, able to invent a tessitura according to the evolution of their vocal characteristics and use it, next to his skills on stage, with a single purpose, success in interpretation. Each of his interventions was applauded until reaching the final ovation. Incredible merit also has the fact of not being covered by Meade's cascade of voice.
Another one that is not lacking in vocal volume is the Italian bass Roberto Tagliavini in his role as the evil Jacopo Lorendano. At the height of the main cast were the soprano Susana Cordón, as Pisana and the tenor Mikeldi Atxalandabaso, as Barbarigo.
A fantastic night of opera, in which the audience enjoyed and demonstrated it by standing applause for several minutes. An end to the season that leaves an excellent taste in the mouth and the best business card for the next one.
Text: Paloma Sanz
Images: Javier del Real
Videos: Teatro Real