The modern setting once more was neither oppressive nor meaning less, but it did not make sense all the way through, although the transposition in a hall like a parliament with two parties having to vote did make sense at the opening scene.
This time, watching the singer on stage, gave me a priceless thrill! With this modern setting and costumes, the medieval chivalrous moral which makes Tancredi fight for her Dame even if he thinks she betrayed him, her father and her future husband....(but we know it is not true, with this unfortunate letter story!) in the eyes of all, became a more psychological internal problem. It has given way to a more introspect character which suited both M-N lemieux's voice and appearance.
In act II, Tancredi, madly in love with Amenaide, seems to be lost in his thoughts, lile a true romantic heroe. Similarly, the prison scene for Amenaide is a dramatic insight. She is seen alone through windowpanes, sitting at a table. It is also a modern vision of this character, she gave a stunning rendition (as always when it is linked to inner thoughts and love with Patrizia Ciofi, she has the real voice to express these feelings ).
So this interpretation of both roles made the opera truly dramatic for me. Their voices matched ideally for Bel Canto and all the beautiful colaratura. The orchestra had the real tempo right from the very start, E. Mazzola loves Rossini, and knows how to handle 'silencio' and thunder from the pit.....The recitatives accompanied with piano forte and cello were very Mozart- like and I enjoyed them. The sextet which ends act I (like the Bellini's quintet which ends Capuleti e i Montecchi) sent me to paradise....
The Ouverture, which is a fine piece where we can hear bits and pieces Rossini re-
used later in Cenerentola and Viaggio, was somehow the background music of an election booth, I did not like it much as I am always waiting to concentrate and not to be disturbed by visual bits added to the story. The very start was a mute short scene where Amenaide walked to her writing desk (the only piece of furniture sticking out alone at the front left angle of the stage before it all started), sat and wrote the letter, telling her love to Tancredi, then J.M. Lo Monaco- Isaura briefly appeared and took the letter Tancredi never got : this is the leading thread of this drama. Letters in Opera matter a lot!
The end according to Voltaire's play is the sad, very sad one.
Here it is even more moving as the orchestra dies out with the last words of the hero. And Silence falls on a Pieta vision in a white halo.
The male chorus and the orchetra were mastering the drama. My first Tancredi live makes me love Rossini even more. There was almost a standing ovation at the parterre with thundering applause and jumping artists ( Patrizia is really funny when happy and relieved!) at the curtain calls!
My curtain calls of that Rossini night at the TCE.
(score PDF photo Petrucci scores)
