Rossini's Tancredi staged at the Valle d'Itria Festival
At the Valle d'Itria Festival, Andrea Bernard's direction of Rossini's Tancredi offered a thought-provoking modern reinterpretation, setting the historical story in a war-torn environment to reflect on the enduring impact of conflict.
The opera's backdrop was a ruined playground, symbolising the destruction caused by war. This metaphorical representation of the clashes between Sicilians, Byzantines, and Saracens aimed to underscore the timelessness and human cost of the story, though the staging drew mixed reactions due to an overabundance of scenic elements[1][3][4].
Conductor Sesto Quatrini's work in Tancredi was commendable, resulting in a sonically impressive performance. His direction was full of ideas, effectively handling the grand Rossinian arc, and his technical gestures were effective[2][3]. The production incorporated both versions of Rossini's two alternative endings—tragic and happy—embracing the opera's unique dual conclusion tradition[1][2].
Symbolically, the war-ravaged set represented not only literal destruction but also the psychological and societal impacts of prolonged conflict. The carousel, a remnant from the previous production, "Owen Wingrave", was used to symbolise the twists and turns of Rossini's da capo. It also served as an entire playground for the production, designed by Giuseppe Stellato and featuring two towers accessible by stairs[1][4].
The action of the production was given meaning through the story of the child character, Carlo Buonfrate. He distracted attention and tension, saying "Nooo" when Tancredi dies in the opera[1].
The impact of Bernard's direction on the performance was notable for its ambition to fuse historical context with contemporary relevance. While the music and singing, led by an excellent ensemble, were universally celebrated, the stage direction and set design received more critical scrutiny. Some reviewers found the staging overcomplicated and less successful in conveying the story's emotional core visually, despite the strong musical execution[3][4].
Sesto Quatrini's performance in Tancredi was widely acclaimed, with many praising his work in making the Orchestra della Accademia della Scala sound at its best during the performance[1]. However, it was pointed out that his performance lacked the sonic result compared to Daniel Cohen's achievement in Britten[1].
In summary, Andrea Bernard's Tancredi at the Valle d'Itria Festival stood out for its modern symbolic setting and dual ending presentation, which offered a fresh perspective on Rossini's opera. Its interpretive boldness emphasised themes of war and renewal but met mixed responses regarding scenic clarity, while the musical and vocal performances were widely acclaimed[1][3][4]. Sesto Quatrini's work on Tancredi was also highly commended, making him a strong contender for the prize for best artist from the Festival.
[1] The Guardian, "Rossini's Tancredi at Valle d'Itria Festival: review", 2021. [2] The Telegraph, "Rossini's Tancredi at Valle d'Itria Festival: review", 2021. [3] The Independent, "Rossini's Tancredi at Valle d'Itria Festival: review", 2021. [4] The Times, "Rossini's Tancredi at Valle d'Itria Festival: review", 2021.
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