Ahead of their performance of ‘La Bohème’ at the weekend, the understudies for the Principals of Opéra de Monte-Carlo gave a free lunchtime taster recital at the Opera Galleria on Saturday – and scrumptious it was too. The concert began with extracts from Mozart’s Da Ponte Trilogy and concluded with Bohemian insight into Puccini’s masterpiece.
As usual the central courtyard was packed and the Concert Grand placed strategically centre stage. After a brief explanation of the change in programme, the beautifully shawled accompanist, Aida Bousselma took to the platform and pounded out the arresting opening chords to Mozart’s, ‘Countess Aria’. Quick as you like, Italian Soprano, Martina Gresia landed beside the piano and poured her heart out with her large, rich voice, filling the two storey space with her dramatic presence. Italian baritone, Jaime Eduardo Pialli brought a gravitas in his delivery of Count Almavira’s Aria, ‘You’ve already won your case!’ from Mozart’s ‘Le Nozze di Figaro’ in his serious, declamatory interpretation. It was accompanied brilliantly by Ms Bousselma in a fiendishly difficult score.
The next piece introduced the Albanian coloratura soprano, Enkeleda Kamani who instantly won hearts with her enchanting facial expressions, vocal control in her high tessitura and wide dynamic range in the lighter, demure role of Susanna. She was joined in the next number, the somewhat tongue-in-cheek, ‘Crudel Perché Finora’ from ‘Figaro’ by Pialli in an amusingly flirtatious dialogue with perfectly blended ensemble singing.
Yet another character appeared in the form of Italian Bass-baritone, Eugenio Di Lieto in a short, dramatic piece sung with poise and excellent delivery. A little later he returned to perform Don Giovanni’s coveted aria, ‘deh vieni alla finestra’ (Oh come to the window) with convincing dark seduction from his heart. Then he was hilarious, perched on the piano stool beside the pianist, as he was regaled by Jaime’s Leporello in the famous patter song, ‘Madamina, il Catalogo è Questo’ Aria! Meanwhile Jaime demonstrated his acting skills through exaggerated facial expressions and body gesture in a wonderful example of energetic slapstick buffoonery.
These informal lunchtime performances provide an excellent opportunity for Muscateers to hear these young, up and coming opera singers, who may otherwise not be heard live, and for them to get their moment in the spotlight.
The two ladies took their turn to shine in, “Prenderò Quel Brunettino” from ‘Così fan Tutte’ as conniving friends, Fiordiligi and Dorabella, blending their vocal harmony with perfect characterisation. Ms Gresia’s richer, fuller mezzo quality was the ideal counterpoint to Ms Kamani’s incredibly poised top notes. Eugenio di Lieto had the final word as Don Alfonso in the scene, ‘Accusan le Donne’ as he left the audience wondering at Mozart’s irony.
Now a taste of things to come: Martina Gresia was coquettish, playful, almost joyful as the consumptive Mimi from ‘La Bohème’ in one of the most adored arias in the repertoire. “Sì, Mi Chiamano Mimì” she performed with classical control of her huge capabilities. Opposite her, Enkeleda was a convincing Musetta in, “Quando Men Vo” with her impossibly high coloratura range with coquettish expression, flirting incorrigibly with Marcello.
Then came the big surprise; fresh off the rehearsal stage in the main auditorium for his role as Parpignol (the Toy Seller) in ‘La Bohème’, Neapolitan tenor Vincenzo di Nocera entered the scene with Rodolfo’s Aria, “Oh Soave Fanciulla” (Oh sweet little lady) and blew listeners away. Together with Martina still as Mimì, they acted beautifully, with such tenderness as they prepared to go out to the café with their friends, singing the final phrase somehow ‘off stage’- in a café!
Vincenzo returned – this time from Naples - to sing one of Pavarotti’s favourite encores, the 1911, ‘Catarì’ (Ungrateful Heart) in his hugely powerful tenor, so well placed and sustained on his plaintive top-note climax. The repeated curtain calls and applause brought the quintet on stage for a splendid rendition of that beloved 1898 Neapolitan chestnut by Eduardo Di Capua, “O Sole Mio”. Opening with Jaime’s baritone statement and Eugenio’s bass retort, the girls added delightful high commentary until Nocera ended the brilliant party piece with his mighty tenor finale. Bravo Opéra de Monte-Carlo! May your performance on Thursday live up to the high expectations of musical excellence and dramatic comedy suggested by this appetiser.
PHOTOS BY KHALID AL BUSAIDI
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