FEDORA - GIORDANO - MILAN
Opera
Fedora is an Opera in three acts by Umberto Giordano
On an Italian libretto by Arturo Colautti based on the 1882 play Fedora by Victorien Sardou Along with Andrea Chenier and Siberia, it is one of the most notable works of Giordano.
It was first performed at theTeatro Lirico in Milan on 17 November 1898
conducted by the composer Gemma Bellincioni created the role of Fedora with Enrico Caruso as her lover, Loris Ipanov.
Performances
The first performance was broadcast on the 15th of Oktober 22 on Rai3Radio
Teatro alla Scala
15th of Oktober 2022
18th of Oktober 2022
21th of Oktober 2022
Casting
New Production of Teatro Alla Scala
Fedora - Sonya Yoncheva (first rôle)
Loris Ipanov - Roberto Alagna (first rôle)
Olga Sukarev - Mariangela Sicilia
Siriex - George Petean
Production - Mario Martone
Conductor - Marco Armiliato
Orchester and chor Teatro Alla Scala
Press Review
Operaeopera.com - Natalia Di Bartolo - 15/10/2022
❝Roberto Alagna triumphs at La Scala … Full-bodied, ample, impeccable voice, … smooth singing, free of any hindrance of projection … mastery of the legato … his own emotions and that of his character inseparably fused … his singing soared on unprecedented vibes, which poured out on the spellbound audience in all their splendour and moved them deeply ❞
READ MORE (EXCERPTS, translated from Italian): « Roberto Alagna triumphs at La Scala alongside Sonya Yoncheva in the role of Fedora | Loris Ipanov was the tenor Roberto Alagna, making his debut in the role, in an evening of grace and a return to La Scala after many years of absence. His full-bodied, ample, impeccable voice gave life to a smooth singing, free of any hindrance in the projection, capable of overcoming any difficulty of the score in the high range. Alagna also sang with his own emotion and that of the character inseparably fused, as only he is capable of achieving. As a result, his singing soared on unprecedented vibes, which poured out on the audience in all their splendour and moved them deeply. His not easy role was also performed with a perfection in the line of singing and a technical mastery of the legato that left the audience of La Scala spellbound and generated a rousing applause after the famous 'Amor ti vieta'. »
Opera Online Website - Thibault Vicq - 15/10/2022
❝ UNDENIABLE TRIUMPH for Roberto Alagna... A SUPERHERO OF VERISMO ... A SPRY VOICE, recognizable amoung all ... A builder of Cathedrals of feelings from the only raw material of his singing ... The Teatro alla Scala terribly missed him … The bravi rained down! ❞
READ MORE (EXCERPTS, translated from French): « Sonya Yoncheva, Roberto Alagna and Marco Armiliato: Fedora's dream trio at the Teatro alla Scala | Roberto Alagna is also a superhero of verismo, generating reverie from reality thanks to his spry voice, recognizable among all. Builder of cathedrals of feelings from the only raw material of his singing, he gives birth to the light of bright rosettes. [...] The triumph he received at the end of the performance was undeniable: the Teatro alla Scala terribly missed him [...] The bravi rained down! »
Opera Actual - Andrea Merli - 15/10/2022
❝ HUGE SUCCESS for >Roberto Alagna... The driving force of the performance ... In a SPECTACULAR VOCAL AND PHYSICAL SHAPE ... This artist is one of the few today who can move ... His weeping is almost contagious and his participation so COMMITTED and REALISTIC. BRAVO TO HIM and bentornato alla Scala❞
READ MORE (EXCERPTS, translated from Spanish): « Resounding success for the return of Alagna to La Scala | A huge success for the Italian-French tenor, for whom Milanese music lovers have been waiting impatiently. [...] It must be said, that Roberto Alagna was the driving force of the performance. At the age of 59 he is in a spectacular vocal and physical shape. It was not only for his "Amor ti vieta", the most famous aria of the opera, which brought the theatre to the first thunderous applause, but also for his phrases in the duets with Fedora, the first with piano accompaniment (with pianist playing in the pit, on stage as a figurant) and the other two at the end of the second act and in the dramatic finale of the opera. This artist is one of the few today who can move, his weeping is almost contagious and his participation so committed and realistic. Bravo to him and bentornato alla Scala. »
Un Merlo a Teatro and Il Trillo Parlante - Mattia Marino Merlo
- 15102022
❝ DESERVABLE TRIUMPHANT SUCCESS for Roberto Alagna who leaves speechless for his VOCAL FRESHNESS, BEAUTY of timbre, HOMOGENEITY in every ranges, outstanding and magnetic interpretation … an undoubtedly MAJESTIC performance … A VOCAL HEALTH and STRENGTH that could be the envy of a young singer of half his age … He manages to render moving, credible the all story both VOCALLY and through his ACTING and scenic well-thought-out gestures❞
READ MORE (EXCERPTS, translated from Italian): « Fedora by Giordano at La Scala with Alagna deservable triumpher | Roberto Alagna, vengeful and passionate Loris, leaves speechless for his vocal freshness, beauty of timbre, homogeneity in every register, ringing and sonorous high notes, absolutely outstanding, magnetic and all-embracing interpretation. You can say whatever you like, given the substantial career and mature age, that his voice has lost some of its polish and burnished colour, or that pianissimi are not all there as the score requires, this will never in any way detracting from an undoubtedly majestic performance, synonymous with vocal health, good management of his talents and significant deployment of strength, that could be the envy of a young singer of half his age.
Alagna manages to render moving, credible and not at all prissy or mawkish, his whole story about the mother and the cheating wife, to imprint in the ears of the audience his famous aria, finely chiselled, without unnecessary vocal outbursts, to move by his reactions more than the dying Fedora herself. What to say then of the whole great scene of the unveiling of his brother and mother’s fates, in which the tenor moves from thirst for vengeance to absolute pity, both vocally and through his scenic acting, with half-voices and well-thought-out gestures. Triumphant success, then, for a singer who deserves it all, right to the last clapping or 'bravo'. »
Gallery
12/01/2022
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