THE HANGOVER REPORT – An underpowered CAV/PAG disappoints at the Met
- By drediman
- January 26, 2016
- No Comments
Last night, I attended a performance of the Met’s production of Cavalleria Rusticana/Pagliacci (fondly referred to together as “Cav/Pag”). I admired David McVicar’s production of this famous operatic double bill of love, lust, and jealousy when it made its premiere last season. With this Cav/Pag, the ever-reliable Mr. McVicar – who over the last two decades has steadily established himself as perhaps the leading opera director of his generation – gives us a carefully thought out production that beautifully highlights the intensity of the psychological drama of these one act operas without sacrificing a vivid sense of time and place. Mr. McVicar also skillfully gives each opera strikingly different personalities while efficiently using essentially the same unit set (kudos also to designers Rae Smith, Moritz Junge, and Paule Constable for the sets, costumes, and lighting, respectively).
However, fine staging alone does not make for a memorable night at the opera. Unfortunately, yesterday’s performance was lacking in several departments. Let’s start with the women. Although both are fine actresses, Violetta Urmana (Santuzza in Cavalleria Rusticana) and Barbara Frittoli (Nedda in Pagliacci) were vocally underpowered, which was especially noticeable in a house the size of the Met. The main draw of the evening was tenor Roberto Alagna in the iconic role of Canio in Pagliacci. And despite sounding robust, his acting felt mechanical, lacking the danger so necessary for the role to land. The performance of the evening came from tenor Yonghoon Lee. He combined passionate, convincing acting with a heroic tenor that really impressed me; he’s become one of the very best dramatic tenors around. Fabio Luisi, the maestro for the evening, drew out a powerful and stirring account of the two scores from the excellent Met orchestra.
SOMEWHAT RECOMMENDED
CAVALLERIA RUSTICANA / PAGLIACCI
Opera
The Metropolitan Opera
3 hours, 5 minutes (with one intermission)
Various dates through February 26
Leave a Reply