“Mai più” (never again): the words are burned into your heart at the end of Leoncavallo’s Zazà, as our heroine finally comes to terms with the fact that the love of her life is lost for ever. The story is a commonplace – it becomes clear in the course of the opera that Zazà’s lover Milio is already married to a wife whom he has no intention of leaving – but Leoncavallo’s words and music are superbly effective in making us live through Zazà’s delight and despair. In Opera Rara’s concert staging at the Barbican last night, Ermonela Jaho produced a magnificent piece of acting to make us believe in every moment.
Jaho threw herself into the role. When she was happy and flirtatious, we smiled with her. When coping with the neuroses of her alcoholic mother, we felt the exasperation. And in every slow step of destruction of the love affair, we stepped beside her, gripped by her facial expressions, gestures and, most of all, the way in which she inflected meaning into her voice. There were lapses in intonation, especially when she was pushing the voice hard, but in such a dramatic portrayal, technical imperfections were forgivable.
Harder to forgive was the poor balance between orchestra and singers. The first act is a sprawling affair – a sort of Adriana Lecouvreur on steroids – in which all hell is breaking loose backstage at a music hall. Leoncavallo’s score is full and rich (this is identifiably the composer of Pagliacci) and Zazà has a generous dose of pure musical beauty and profusion of orchestral colour. Sadly, though, conductor Maurizio Benini seemed to make no concessions to the fact that he had no orchestra pit, with singers in a thin line along the front of the stage. With the BBC Symphony Orchestra in full cry, much of the singing was submerged completely, at least from where I was sitting close to the right hand end of the stage.
I’m not sure what the “concert staging” was meant to achieve: almost everyone was in evening dress, not in costume, there were few props, singers were using scores on music stands and Jaho was the only one who was making a serious effort to act her role. The non-singing role of Totò, Milio’s daughter, was spoken well enough by Julia Ferri, but amplified oddly. I would have preferred a straight concert performance in which the lights were on and I could follow a libretto: in Act I, I found it near-impossible even to know which character was which.