I’m really not sure what to make of the recent recording of Giodarno’s Siberia made at the Maggi Musicale Fiorentino in 2021. It’s certainly a rather weird experience. It’s partly that it’s a bit of an oddball of an opera, partly Roberto Andò’s production and partly that it was recorded under COVID conditions with the chorus masked and blocking that seems, if rather inconsistently, to be designed for social distancing.
Watching the recently released recording of the 2017 production of Giodarno’s Andrea Chénier from La Scala had me wondering why this piece isn’t done more often. If it had been written by Puccini, and it might well have been, it would get done as often as Tosca, with which it has many similarities. In the conscience stricken revolutionary Gérard it has one of the few multi-dimensional characters in verismo opera and the music, for Chénier in particular, has all the qualities that people listen to Puccini for. I guess perhaps one needs at least a rough understanding of the events of the French revolution to really follow the plot as Giodarno, unlike Puccini, roots his work in actual history but still. Opera fashion is very odd.(*)
Before heading over to the Daniels Spectrum last night I dropped in on the 2014/15 Royal Conservatory season announcement at Koerner Hall. The line up of 100 concerts is eclectic; chamber and orchestral, world music and jazz and a small number of vocal concerts which are probably the ones of most interest to readers of this blog.
Giordano’s Fedora is a sort of apotheosis of the 19th century Italian opera. It’s a melodramatic love story in an aristocratic Russian setting. There is murder and suicide and plots and a dead mother and brother. The music is dramatic, even bombastic, when the mood suits but finds time to give showpiece arias for the principals. There is not a single idea in libretto or score that could give anyone an uncomfortable thought. The Metropolitan Opera’s 1996 production by Beppe di Tomasi builds on this by playing it dead straight and setting it in a series of suitably opulent settings complete with extravagant frocks. The cherry on the already rather rich cake is casting Placido Domingo as Loris Ipanoff and Mirella Freni as Fedora Romazoff. I imagine it’s many people’s idea of the perfect night at the opera In it’s way it’s the polar opposite of, say, Bieito’s Wozzeck. Continue reading