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I Capuleti e i Montecchi Milan 2022 Marianne Crebassa, Lisette Oropesa, Jinxu Xiahou
Popular Singers in this Opera Recording
STREAM IT from LaScalaTV
Information on the Performance
- Work Title: I Capuleti e i Montecchi
- Composer: Bellini Vincenzo
- Libretto: Felice Romani Libretto Text, Libretto Index
- Venue & Opera Company: Teatro alla Scala di Milano, Italy
- Recorded: January 2022
- Type: Staged Opera Live
- Singers: Marianne Crebassa, Lisette Oropesa, Jinxu Xiahou, Michele Pertusi, Jongmin Park
- Conductor: Speranza Scappucci
- Orchestra: Orchestra del Teatro alla Scala
- Chorus: Coro del Teatro alla Scala
- Chorus Master: Alberto Malazzi
- Choreographer: Joanne Pearce
- Stage Director: Adrian Noble
- Stage Designer: Tobias Hoheisel
- Costume Designer: Petra Reinhardt
- Lighting Designer: Jean Kalman, Marco Filibeck
Information about the Recording
- Published by: LaScalaTV
- Date Published: 2023
- Format: Streaming
- Quality Video: 4 Audio:4
- Subtitles: yessubs, ensubs, itsubs
ADDITIONAL INFORMATION ON THIS PERFORMANCE
Quote from Bachtrack:
I Capuleti e i Montecchi, a 19th-century Romantic drama only vaguely related to Shakespeare’s Romeo and Juliet, lives and dies on the strength of its two protagonists. The Teatro alla Scala managed to get two absolute stellar singers, who delivered magnificently. The preparation of this new production presented in Milan was ridden with obstacles: both the conductor and the principal tenor (Evelino Pidò and Renè Barbera) had to be replaced during the rehearsals because of Covid rules, the chorus had to sing with FFP2 masks (red for the Capulets, black for the Montagues), but the resulting performance was nothing short than excellent.
Adrian Noble’s new production places the story in the 20th century, framing the political feud between the two families in the social turmoil between the two world wars. We were thankfully spared any didactic allusion to the rise of Italian fascism, which was nevertheless a clear reference throughout the action. Tobias Hoheisel’s set was grey and ominous, and there were some corny moments – the snow in the second act – but the direction of the singers was precise and effective. A pet peeve of mine (particularly in this opera) is that sword fights simply do not translate well into gun fights. Once again, we saw Romeo and Tebaldo, in their duel in the second act, alternatively threatening each other with a gun for long minutes, with nobody taking a shot. It’s just ridiculous.