Metropolitan Opera House, Lincoln Center, N.Y.; February 14, 2012
The Met’s 1983 production of Verdi’s fifth opera, “Ernani,” is back and it has stood up well. Pier Luigi Samaritani’s huge sets – fortress walls, 40-feet high wooden doors and draperies, mammoth staircases going up, up, up – still look imperious in a generalized, regal way, and the costumes by Peter J. Hall are still handsome. There seems to be no direction whatsoever; it’s pretty much a stand-up-and-sing affair, with some very clumsy moments – Elvira and Ernani whispering sweet nothings to one another within three feet of Silva and not noticing his presence, soldiers walking in circles, etc. But this is an opera about singing, voice and then more singing and voice: nobody goes to “Ernani” expecting true-to-life drama.
And in that respect, there was much to admire. Primary attention was on Angela Meade as Elvira, who is winning awards left and right and who has impressed in the past. And, indeed, she’s pretty special: the secure voice soars, her high pianissimi are stunning a la Caballé (though not as subtly used), her pitch is dead-center. She has a real sense of the Verdi line and appears to be innately musical. The top of the voice cuts through the orchestration and ensembles and the middle and bottom are equally impressive – and she has a real trill. If all goes well, she will be the Trovatore Leonora and the Norma we’ve been waiting for. Her acting is non-existent (as mentioned, the production certainly does not help) and her costumes do not suit her large frame; all she is missing is charisma – or a director/designer to help her out. And as she becomes more in demand, I’m certain she will get them.
The other vocal standout is Dmitri Hvorostovsky as the King, Don Carlo. His beautiful baritone, endless breath and regal bearing are crucial to this, the only vaguely three-dimensional character in the opera. Ferruccio Furlanetto remains an imposing Silva, although his rich bass is sounding somewhat worn. Coming in last is Marcello Giordani in the title role. His all-purpose delivery is grating and insensitive and his sound – overly bright around and above the staff – makes him sound more like a clarion trumpet than a tenor. He doesn’t actually do anything wrong, but one recalls many finer tenors in the role: Carlo Bergonzi was superb and even Mario del Monaco, on discs, was more subtle. The others in the cast offer stentorian delivery, and the orchestra plays handsomely for the unimaginative Marco Armiliato, who is certainly better than he was leading “Anna Bolena.” Bravo to Hvorostovsky and Meade – difficult roles, superbly handled.
Robert Levine
