Operatoonity.com review: Tancredi presented by Opera Philadelphia
Live performance: Friday, February 10, 2017, 8:00 p.m.
Venue: The Academy of Music, Philadelphia
Music’: Gioachini Rossini
Libretto: Gaetano Rossi
4.0 out of 5.0 stars
What could have been sleepy homage to opera seria was instead transformed into a moving, vital production at the Academy of Music last Friday evening. Tancredi captured loads of advance media attention and cachet for Opera Phila, who attracted Metropolitan Opera star Stephanie Blythe to the City of Brotherly Love. Ultimately, Opera Phila’s reproduction will remembered for the virtuoso vocal performance of coloratura soprano Brenda Rae as the lovelorn Amenaide.
Yes, seeing Blythe on the Academy of Music stage was a gift to me and all assembled. Yes, the directorial execution, both beautiful and controlled, by Emilio Sagi was impressive. Yes, Corrado Rovaris, who can conduct anything, has extraordinary facility with the bel canto canon.
But simply put, once the stage fog settled, this production of Tancredi was all about Brenda.
Tancredi is hardly the most dynamic of operas and is admittedly flawed–mostly static and plodding in pace. It can’t be the opera on which Rossini wanted to hang his Bombetta–too simple in plot, too staid in tone. The storyline proves barely palatable to progressive women and men in our modern era. Tancredi is a tale extracted from the Middle ages, when the Byzantine Empire was under constant threat of attack from the Saracens. Amenaide is wrongly condemned to death as a traitor without any process, let alone due process. Though her honor is defended by her secret suitor Tancredi, essentially she had no voice, no rights, and no recourse, having been stripped of her stature and dignity without any proof of her treason. Scary? You betcha. Laughably archaic tenets? Don’t we wish!
So, the feudal-era mores undergirding the story are tough to stomach despite the setting being updated to the 20th century. In spite of the inherent shortcomings in the work, Tancredi succeeds on the Academy of Music stage as a showcase for superb vocal artistry from a winning cast and chorus: tenor Michele Angelini as Argirio, bass-baritone Daniel Mobbs as Orbazzano, mezzo-soprano Stephanie Blythe singing the title role, and the powerful and versatile Opera Phila Chorus.
But most especially because of Brenda Rae, whose meltingly lovely tone, stunning vocal range, and vocal agility spurred the audience to dozens of “bravas” after aria, each more taxing than the last. Bring this talented performer back to Opera Phila in a stronger show, pretty please.
In the title role of Tancredi, the power of Blythe’s voice sent it right up to the rafters. However, her vocal runs were not as easily accomplished especially when compared to Rae’s facility with Rossini. While it may have been Blythe’s wish fulfillment to play a trouser role with such heft and dimension to it, and it was commendable for Opera Phila to give her the chance to realize the title role in a fully staged production, the reality of singing Tancredi proved a less than perfect picture. Certainly, the voicings in Rae and Blythe’s duetti succeeded, with Rossini pairing soprano and mezzo for optimum effect. But this could not have been the versatile Blythe’s finest turn on stage of late. A solid turn, but not a stellar one.
The patriarchs, despite their provinciality and geopolitical shortcomings, were both a vocal triumph. Both Angelini and Mobbs came to their roles vocally well-equipped for the demands of bel canto. However, the fact that two men were deciding the fate of a powerless woman was not lost on the audience. One couple at intermission couldn’t help but compare Amenaide’s tribunal to a much-publicized political tableau of six white men deciding women’s reproductive rights. (Though likely an unintended consequence, perhaps thanks are due to Opera Phila for reminding us how deadly the world can be when women have no voice.) More to the point of this exercise, their pairings with Blythe and Rae made for rich and complex trios and quartets.
While the director chose not to set the work in the medieval period, citing cost-savings, his choice turned out to be an aesthetically rich. The set combined grandeur with enough flexibility to create the various change in stage sets to support the plot, sweeping and subtly turning back and forth to create fresh staging areas. Sagi and his design principals’ (sets by Daniel Bianco and lighting by Eduardo Bravo) seamless mastery made the reproduction as successful as it could be.
It may be unfair to have enormous expectations of an opera star like Blythe and few of an up-and-coming soprano like Rae by comparison, and to allow those expectations to guide this review. But that is the beauty and the treachery evident in live performance and reviews by sentimental human critics.
In the final analysis, Tancredi is a solid presentation of a seldom-seen show and deserves to be seen for Rae’s breakout performance, everyone’s vocal calisthenics, beautifully controlled conducting, and clean and sexy staging. The show continues through February 19. More information is available at the Opera Phila website.