Director Bruno Ravella excels with a stunning interpretation of Donizetti’s 1824 version of his two-act heroic opera in this new production by the Fondazione Teatro Donizetti in co-production with Wexford Festival Opera, that resonates strongly with events currently unravelling in Ukraine and the Middle East.
Based in the Moorish kingdom of Granada in Andalusia, Almuzir (Konu Kim) has killed the king of the city by usurping his throne and would like to marry his daughter, Zoraida (Zuzana Marková), who is in love with Abenamet (Cecilia Molinari), head of the Arab aristocratic clan of the Abencerragis.
Having declared war on the Spaniards, Almuzir entrusts the command of the army to Abenamet, ordering him to return with the flag. He has however set a trap for his rival by arranging for the head of his guards, Ali Zegri (Valerio Morelli), to ensure it falls into the hands of his enemies: when the victorious Abenamet returns to Granada without the flag, he is accused of treason and sentenced to death.
Zoraida, supported by her friend Ines (Lilla Takács), agrees to marry Almuzir to spare Abenamet’s life in return, but when Abenamet, aided by his friend Almanzor (Tuty Hernàndez), discovers what the price of his pardon was, he rebukes Zoraida for her infidelity. Their declarations of love are overheard by Ali Zegri and whilst Abenamet manages to escape, Zoraida is captured, accused of treason, and condemned to be burnt at the stake. Is this the end of love’s young dream? Can anyone rescue Zoraida before she becomes an eternal flame? Will Almuzir repent his ways?
Gary McCann’s set and costume design, complemented by Daniele Naldi’s lighting design, captures the devastating impact of war on any suburban scene, with the chorus dressed as soldiers reflect the oscillating moods of high celebration to the lows of injury and death, as we contemplate the battle of duty and honour over love, and the power of forgiveness over revenge.
With an impressive backdrop of a bombed-out ruin, the staging was effectively kept simple with the chorus moving it seamlessly on and off stage during instrumental periods as we segued from scene to scene.
Conductor Alberto Zanardi confidently led the Orchestra Gli Originali through both acts which are each over ninety minutes in length, embodying the energy and frisson of the unravelling mood and emotion of the action on stage, with the Coro dell’Accademia Teatro alla Scala in fine voice throughout under the composed direction of choirmaster Salvo Sgrò.
There was great chemistry between the cast, all of whom performed strongly delivering wonderful solos and strong duets. Kim was superb as the villainous Almuzir with his great acting and movement complemented by an impressive vocal. Molinari caught the naivety, bravery, and stubbornness of Abenamet and a great vocal performance. Marková’s impressive visual presence was complemented by her the innocence and piety of both her blue and white attire and sung beautifully and passionately throughout.
I must make special mention for the young stars of Bottega Donizetti who stepped up to the mark tonight with Hernàndez performing strongly as a loyal ever-present aide. Morelli in turn gave a strong brooding performance with an impressive solo, whilst Takács was composed and faithful and delivered a beautifully moving solo: bright futures, each and every one.
Performed in Italian with both Italian and English surtitles, Zoraida di Granata is one of three operas performing as part of the Donizetti Opera Festival in Bergamo from 14th November through to 1st December. Further details https://www.donizetti.org/en/festival-donizetti/donizetti-opera-2024/
Reviewer: Mark Davoren
Reviewed: 24th November 2024
North West End UK Rating: