Scala

Rigoletto Performance at La⁤ Scala Marred by Orchestral Sloppiness,Mixed Vocal⁢ Performances

Milan,Italy – ⁢A recent production of Giuseppe Verdi‘s Rigoletto at Teatro alla Scala ​was met with a divided ⁢reception,with critics ‍citing a noticeably sloppy orchestra ‍and uneven​ vocal performances alongside strong showings from⁣ select cast⁤ members. The performance,reviewed by Nicola Cattò,highlighted a lack of​ direction that ‍led to a disjointed musical experience and ⁣a vocal cast of varying success.

The production’s struggles stemmed from a perceived ‌absence of strong artistic ⁤leadership, leaving the orchestra to perform “with such sloppiness” and singers to largely interpret‌ their roles independently.This is especially noteworthy at La Scala, one of the world’s leading opera houses, where audiences expect ⁣a consistently ⁢high level of precision and artistic cohesion. The issues sparked⁣ both enthusiastic applause for individual performers ​and vocal boos directed at‍ the ⁤production’s director, a‍ rare reversal of typical audience response.

Tenor Galeano⁤ Salas, stepping in ⁤for Korchak (who replaced Grigolo), earned praise as the​ Duke of Mantua, described as ‍possessing “a clear color, a delicate but ​present ringing, and a certain boldness.” While showing “certain‌ fragilities” in the‍ cabaletta “Possente amor,”⁤ cattò ‌noted salas’s vocal material was “certainly good.”

However, the⁤ performance was not without its disappointments. Soprano Regula Mühlemann,typically⁤ lauded in German repertoire,was deemed a “total miscast” as Gilda,suffering from “evident absence of idiomaticity” and vocal difficulties,including​ a “feeble” high ⁤E flat and a lack of tragic⁢ depth in the third act.Baritone Amartuvshin Enkhbat, while showcasing his “impressive voice” and “excellent singing,” was criticized for⁢ “expressive inertia ⁤that ‍borders on indifference” despite portraying the imposing character of Rigoletto.

In contrast, bass Gianluca Buratto’s portrayal of Sparafucile and‌ mezzo-soprano ‍Martina​ Belli’s Maddalena were singled out for their “remarkable stage presence and incisiveness.” Fabrizio Beggi’s performance as‌ Monterone⁢ also received high praise, with Cattò describing his characterization as “unforgettable.”