I have been going to the summer festival at the Arena di Verona for many years and every time I go, I come to the same conclusion: no other place can beat it. It’s mainly because of the acoustical properties of the ancient Roman amphitheater that is far superior to other summer festival outdoor venues that I have been to. I have to admit that the sheer size of their budget allows for presenting each and every opera with best possible singers, huge choruses, supers and as a spectacle works with the masses there too, both the educated and the novices. The orchestra and chorus are of the highest quality. The cast has, in my experience, always been stellar.
This year was the 90th festival — the festival started in 1913 but had a few interruptions during the war years.
This year I am seeing three operas in Verona; two last week and I will see one more on my way back to Rome.
Don Giovanni was the first one and the interesting fact was that this was the first time that Verona summer festival presented it. They gave the honour to the almost-90-year-old Franco Zeffirelli, the legend of opera, to both design the set and to direct it. It was an excellent production where Zeffirelli gave it a sense of Mozart’s time in terms of how he handled the production — both the look and the performing style. It worked well in spite of having hundreds on stage, which would have certainly not been the case at the time when the opera was first composed. Great cast with special mention of one of the world’s most celebrated bass-baritones, Ildebrando D’Arcangelo, in the title role, well-established opera buffa interpreter Bruno de Simone as Leporello, young Bulgarian bass Deyan Vatchkov as Masetto (although I really wanted to hear him sing a different role!) and a promising young tenor from Albania, Saimir Pirgu, as Don Ottavio. I am now not sure if I am listening this year differently for male roles as we keep wanting more men in our Edmonton Opera chorus, so I am somewhat obsessed with that aspect of our search, but it seems that there is a pool of talented male singers on the summer stages of Europe. I have to add that all the female principals were wonderful to hear too which is especially so for the gorgeous Russian soprano Anna Samuil as Donna Anna. I only heard the French mezzo Geraldine Chauvet live in roles like Adalgisa — I knew she does a great Carmen but didn’t imagine her as Zerlina. I love it when great singers surprise us with what range and rep they can actually do and do it so well. It was especially moving when at the end of the opera, Franco Zeffirelli came onstage in his wheelchair and the entire cast and the wonderful conductor Daniel Oren all went on their knees so as not to be higher than Zeffirelli! I felt truly privileged being there that night.
The following night was Romeo et Juliette under the Verona stars and the heat that evening even after midnight persisted as the temperature never went below 35! Other than Faust, Romeo et Juliette is really the only other Gounod opera performed with any regularity. The production, which has only four performances this year, was designed by Eduardo Sanchi, beautiful costumes were designed by Silvia Aymonino, it was directed by Francesco Micheli and musically well-presented by the conductor Fabio Mastrangelo. The sets, the use of the arena as backdrop, lighting and costumes were a really wonderful, magical modern interpretation of the Shakespearean story. There were a couple of moments when I questioned my own ability to understand some set elements or a directorial decision but I quickly got over it. In title roles, to start with, Polish coloratura soprano Aleksandra Kurzak as Juliette was fantastic. I wished I heard John Osborn doing his European debut just a week earlier, but I have to give credit to Stefano Secco as very good Romeo. All in all — a very satisfactory opera experience.