Domingo monument but nothing else remains Mantegna is the star – Chronicle

Domingo monument but nothing else remains Mantegna is the star – Chronicle
Domingo monument but nothing else remains Mantegna is the star – Chronicle

Elvio Giudici In a famous comedy, the great Eduardo attributed to the Monuments the only usefulness of being able to offer shelter to the homeless. But in general, the Monuments are object of veneration regardless, even when one no longer remembers the reasons for which they were erected. At La Scala, among the preparatory ferment for the opening night, one of the most consolidated monuments of the opera house was celebrated: Placido Domingo. Triumph announced and punctually officiated. It must be said that …

Elvio

Judges

In a famous comedy, the great Eduardo attributed to the Monuments the only usefulness of being able to offer shelter to the homeless. But in general, the Monuments are object of veneration regardless, even when one no longer remembers the reasons for which they were erected. At La Scala, among the preparatory ferment for the opening night, one of the most consolidated monuments of the opera house was celebrated: Placido Domingo. Triumph announced and punctually officiated. It must be said that the timbre of this eighty-year-old voice is still fascinating, and undoubtedly a physiological miracle is a vocal line that is still substantially still, to the detriment of many thirty-year-olds in whom she dances from seasickness. But let’s not hide behind a blade of grass: there is nothing else. Entirely stuck in the throat, this line is very hard: therefore unable to vary the dynamics even minimally, therefore a monotonous, perennial strong suffocating, therefore no possibility of interpreting, aggravated by the fact that the memory vacillates, the diction is nebulous and the memory lapses do not they are counted. The great skill of the conductor Marco Armiliato, who holds the very young orchestra of the Academy (splendid, albeit a bit thin in thickness, the Symphonies of Nabucco and Forza del Destino) ensures that the gray-haired monument does not collapse miserably) and recaptures the monument almost to each of his frightening skids.

But to give a musical sense to the evening is provided by the one who, engaged as a “shoulder”, shone as a great artist: the young Palermo Roberta Mantegna shows off a very beautiful voice, very well emitted and controlled, varied and interesting phrasing. In the duets of Traviata and Trovatore he could only play as a throw-in, having to fill the “holes” of the monument: but in the monumental scene of the Bellinian Pirata he confirmed the exceptional qualities shown last month in Palermo when he performed the work in its entirety; and the great air of Elisabetta dal Don Carlo showed an artist who will be able to write an important page in the book of the interpretation of one of Verdi’s most complex, difficult, fascinating characters. Alone, Domingo sang (quite badly) the aria of Macbeth: for me, a discreet fall in style, five days before the premiere. But they will still be roses compared to the bad taste that (“coincidentally” in the same days as Macbeth Scaligero) the Milanese musical culture is now called upon to endure in a famous institution in Largo Isarco.

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