Ermione was a true fiasco for Gioachino Rossini, receiving only four complete performances at the Teatro San Carlo in Naples, along with a few additional performances of just the first act. It wasn't until the Rossini Opera Festival revived it in 1987 that the opera received proper attention, although it has never become a staple of the repertoire. Scholars have thoroughly debated the reasons for its initial failure, some of the hypotheses include: the subject is too tragic; neo-classical operas based on Greek mythology were out of fashion; the murder of a rightful king was perceived as scandalous; it was boring (this was Rossini himself); it was too old-fashioned (inspired to Gluck’s style); it was too modern; or Isabella Colbran struggled with the title role.
The score of Ermione distinctly deviates from traditional Rossini works. The atmosphere is intensely tragic, culminating in a disturbing finale centred on the murder of King Pyrrhus. Unusually, the prima donna's major scene occurs not at the end of the opera but in the middle of the second act. This scene is structured in several sections, many in a declamatory style, and includes interventions by the chorus and other characters.
The libretto by Andrea Leone Tottola tells the story of three children of heroes from the Trojan War. Pyrrhus, the son of Achilles, is betrothed to Hermione, the daughter of Menelaus and Helen of Troy, while Orestes, the son of Agamemnon, is madly in love with Hermione. Pyrrhus has brought Andromache, Hector’s widow, with him as a spoil of war and intends to marry her, abandoning Hermione, who is furious. Andromache belongs to the previous generation – although the generations here are interwoven, much like in a soap opera. Perhaps this is why director Johannes Erath depicts her with white hair.
The three main characters are completely overwhelmed by their passions, neglecting their social duties. They frequently blame the god Love for their irrational behaviour, and Erath portrays Cupid as a silent character shooting his arrows. In contrast, Andromache remains unwaveringly faithful to her husband's memory and is hardly moved by the torture of her son Astyanax, who is portrayed here as a grown man, again emphasising the intertwining of generations.
The sets, designed by Heike Scheele, consist of three concentric rectangular shapes outlined with neon lights. The stage, already spacious in the Vitifrigo Arena, is extended on the sides by video projections and platforms used by the singers. The visuals are striking, depicting Pyrrhus' court as a place of debauchery, with the chorus and secondary characters dressed in cabaret or possibly BDSM-style attire.
Anastasia Bartoli played Ermione. Although she does not possess a traditional ‘Rossini voice’, she delivered a mesmerising performance. Her powerful soprano bordered on the dramatic, yet she displayed fine coloratura and superb control over her voluminous instrument. She offered ethereal filati, and her high notes were earth-shattering. Bartoli imbued each word with meaning, expressing the full rage of a scorned lover with truly evil undertones. It was a dramatic, profound performance.
Enea Scala, in the role of Pirro, was unfortunately the weak link on the musical side. While his tenor voice is well-suited to the role, his coloratura was not clean and was at times slurred, and he introduced some clumsy portamenti in his phrasing, which detracted from the elegance of his delivery. Combined with a timbre that is perhaps not the sweetest, this resulted in a less than perfect performance. It may have just been an off night. However, his mezza voce was beautiful, and he gave an excellent acting portrayal of Pirro, capturing his fickleness, narcissism and arrogance. His powerful, perfectly projected high notes were greatly appreciated by the audience.
As Oreste, Juan Diego Flórez delivered his usual masterclass in bel canto. His elegance, phrasing and musical intelligence were evident in every note. High notes remained secure, luminous and exciting, while his coloratura was precise and swift. The two duets with Bartoli were magical, with Flórez tender and sweet, Bartoli seductive and manipulative.
Victoria Yarovaya sang Andromache, bringing authority to Hector's widow with her bronzed mezzo-soprano, which displayed a secure middle and low register. Her high notes were powerful, with only a slight edge. Her sober, haughty demeanour added to a very successful performance. As Pilade, Oreste’s confidante, Antonio Mandrillo displayed a high, light tenor that blended well in his duets with Flórez.