Goyescas and Suor Angelica: an odd couple in Naples

Par Lorenzo Fiorito, 01 juin 2016

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Critique faite à Teatro di San Carlo, Naples, le 29 mai 2016

Granados, Goyescas (Los majos enamorados)

Puccini, Suor Angelica

Teatro di San Carlo

Donato Renzetti, Direction

Andrea de Rosa, Mise en scène, Décors

Alessandro Ciammarughi, Costumes

Giuseppina Piunti, Rosario

Giovanna Lanza, Pepa, La maestra delle novizie

Andeka Gorrotxategi, Fernando

Alejandro Escobar, Singer

César San Martín, Paquiro

María José Siri, Suor Angelica

Luciana D'Intino, La zia principessa

Annunziata Vestri, La badessa

Elena Zilio, La suora zelatrice

Anna Maria Sarra, Suor Genovieffa

Daniela Cappiello, Suor Osmina

Paola Francesca Natale, Suor Dolcina

Angela Fragnano, La suora infermiera

Miriam Artiaco, Première sœur quêteuse

Francesca Martini, Sœur quêteuse 2

Orchestra del Teatro di San Carlo

Coro del Teatro di San Carlo

Rosa Feola’s Lucia rescues a San Carlo production showing its age

Lorenzo Fiorito, 11th March

Gianni Amelio's 2021 production of Lucia di Lammermoor at the Teatro di San Carlo serves the music, but it no longer commands the same sense of discovery.

***11

Laurent Pelly’s Falstaff passes the Naples test with flying colours

Lorenzo Fiorito, 15th February

The French director’s much-travelled production arrives at the Teatro di San Carlo, displaying a precise balance between word, gesture and voice.

*****

Ludovic Tézier delivers a noble Nabucco in Naples

Lorenzo Fiorito, 18th January

Andreas Homoki’s staging at the Teatro di San Carlo, setting aside a few inconsistencies with the libretto, does not indulge in redundant symbolism.

***11

Ennio Morricone’s only opera, Partenope, finally premiered in Naples

Lorenzo Fiorito, 14th December

Vanessa Beecroft’s production of Ennio Morricone’s demanding sole opera relies on strong visual images.

***11

San Carlo’s Medea a clash of worlds in a neoclassical framework

Lorenzo Fiorito, 10th December

A new Medea at the Teatro di San Carlo presents three distinct visions – neoclassical in the pit, expressionistic on stage and conceptual in the direction – that never fully merge.

***11

Vocal triumph in Un ballo in maschera at the Teatro di San Carlo

Lorenzo Fiorito, 11th October

Faithful to the libretto’s dramaturgy, the staging unfolds in scenographic environments of strong impact -

****1

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Lorenzo Fiorito

Lorenzo Fiorito holds degrees in Humanities and in Languages and Literatures, and a Phd in Languages for Special Purposes. He is a lecturer in historical musicological subjects at the Pegaso University, Naples, the Universitas Mercatorum, Rome and MEDEA Higher Education Institution, Malta, currently researching musicology as a special language. He is a member of the National Music Critics Association and of the Italian Society of Musicology. He edited a series of volumes in Musicology and History of Music for the publisher Diana Edizioni, mainly concerning the Neapolitan School of Music of the 18th century, and is the founder and artistic director of the “Francesco Durante Festival” in Frattamaggiore.