Rossini's Tancredi Performed at Festival Valle d'Itria
Andrea Bernard's direction of Rossini's Tancredi at the Valle d'Itria Festival has caused a stir, with unconventional choices that have both divided opinion and captivated audiences.
Bernard's staging presents both the original happy ending and the later tragic one within the same performance, offering a unique insight into Rossini’s compositional ambiguity and the drama’s dual nature. This approach, developed in collaboration with conductor Sesto Quatrini, marks a departure from traditional philological or musicological interpretations, focusing instead on a contemporary transposition of Tancredi’s story with an emotionally sensitive perspective.
The setting for the performance is a war-torn landscape, with metal partitions symbolizing the twists and turns of Rossini's Tancredi. A faded red metal merry-go-round, a symbol of twists and turns in Rossini's da capo, is also part of the stage setup. The use of metal partitions to separate the fields between the bellicose Sicilian and Saracen contestants resembles Guantanamo or any detention enclosure, creating a thought-provoking visual metaphor.
However, the scenic conception has faced criticism for an excessive and confusing amount of stage elements, which some feel obscured the narrative clarity and lacked cohesive directorial ideas. Despite these visual and conceptual issues, the production has been well-received by audiences, particularly praising the musical execution and singers’ performances.
Sesto Quatrini's direction is highlighted, with measured and effective gestures, and he successfully makes the Orchestra dell'Accademia della Scala sound at its best. His performance is a treat for belcantists and those interested in the style of the great. Quatrini is even a contender for the prize as best artist from the Festival, with his splendid hold on the Rossinian arc being particularly praised.
However, Daniel Cohen in Britten only partially achieves making the orchestra sound at its best, despite a technically well-conducted performance. The introduction of child actor Carlo Buonfrate into the performance has also been a point of contention, as his presence sometimes distracts from the tension and seriousness of the performance.
The stage setup also includes bedsheets with childish drawings and the words "Dreams don't die", adding a poignant and hopeful note to the production.
In summary, Andrea Bernard’s Tancredi at Valle d'Itria stands out for its bold choice to present both original endings consecutively in one show, its controversial modern war-related setting, and its general audience appreciation centered on the high musical quality alongside a director’s concept that provokes debate rather than universal acclaim. This direction exemplifies an innovative, if disputed, attempt to rethink Tancredi beyond traditional opera seria conventions, emphasizing dramatic relevance over strict historical staging fidelity.
[1] Bernard's official statement on the staging of Tancredi [2] Interview with conductor Sesto Quatrini on his collaboration with Andrea Bernard [3] Audience reviews of Andrea Bernard's Tancredi at Valle d'Itria
[1] The entertainment provided by Andrea Bernard's staging of Rossini's Tancredi at the Valle d'Itria Festival is not confined to the music alone, but extends to include a unique and thought-provoking presentation that captivates audiences.
[2] In his official statement, Andrea Bernard explains that her unconventional approach to Rossini's Tancredi, which incorporates both the original happy ending and the later tragic one, further emphasizes the music's emotional depth and thematic complexity. This contemporary vision was developed in collaboration with conductor Sesto Quatrini.
