The Teatro di San Carlo has revived Verdi’s Un ballo in maschera in a production that restores Pierluigi Samaritani’s historic Parma staging (1988–89), revitalised by Massimo Pizzi Gasparon Contarini. The result is a resolutely traditional spectacle, centred on refined pictorial aestheticism: each tableau is composed as a living painting, where visual beauty converses naturally with Verdi’s score, free from conceptual overstatement.
Faithful to the libretto’s dramaturgy, the staging unfolds in scenes of strong impact, from the grand hall of Governor Riccardo’s palace, with its monumental 17th-century staircase, to Ulrica’s den, transformed into a dark, ritual space of unrestrained sensuality, and finally to the “orrido campo”, shrouded in mist among bare trees and Gothic ruins, evoking a pre-Romantic landscape. Lighting sculpts each space with dramaturgical precision, while the lavish costumes, vibrant in colour, serve as autonomous scenic elements. Gino Potente’s choreography, performed by the students of the Ballet School, integrates seamlessly into the choral scenes and vocal ensembles.
On the podium, Pinchas Steinberg led the San Carlo Orchestra in a reflective reading. His Verdi is meditative rather than theatrically impetuous, privileging instrumental clarity. The Chorus responded with rhythmic accuracy, timbral cohesion and a strong sense of theatrical integration.
The evening ultimately belonged to the singers, a distinguished quartet led by Anna Netrebko and Ludovic Tézier. In her role debut as Amelia, Netrebko proved exceptional, combining dramatic stature with refined expressivity. Her interpretation grew in intensity: after a poised entrance with “Consentimi, o Signore”, she reached moments of pure sublimity in her prayer, spinning pianissimos of crystalline beauty. “Ecco l’orrido campo” captivated with its emotional charge. Her “Morrò, ma prima in grazia” crowned the performance, sung with heartfelt pathos and impeccable control, earning a thunderous ovation.
As Renato, Tézier confirmed his Verdian mastery, shaping a character of psychological depth who evolves from loyal friend to vengeful husband with compelling vocal authority. His phrasing was exemplary – each word weighted for meaning, each pause theatrically charged. “Eri tu che macchiavi quell’anima” was a highlight, its declamatory force intertwined with nostalgia, beautifully underscored by harp and flute.
Piero Pretti, as Riccardo, offered a clear, well-focused timbre and technical assurance. From “La rivedrà nell’estasi” to the Act I quintet “È scherzo od è follia”, he delineated a noble, credible figure. Although sometimes overpowered in ensembles, his final “Ma se m’è forza perderti” was moving, revealing the protagonist’s inner conflict between love and duty.
Making her San Carlo debut, Elizabeth DeShong delivered a striking Ulrica, her voice dark and resonant lower register sumptuous. Her “Re dell’abisso, affrettati”, sung facing away from the audience, impressed for its theatrical authority and refined musicianship. While her instrument may not possess the amplitude of the great Verdian contraltos, the density of tone and coherence of emission rendered her interpretation convincing.
Cassandre Berthon brought agility and charm to the page Oscar, though her projection lacked the brilliance needed in a house of this size. Romano Dal Zovo and Adriano Gramigni were solid as the conspirators Samuel and Tom, with Maurizio Bove (Silvano) and Massimo Sirigu (Judge, Servant) completing the cast. Sustained applause for the four principal artists sealed an evening of high musical quality – a triumph for the singers within a traditional, visually sumptuous scenic framework.
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