It’s been almost 30 years since Maestro Muti conducted Bellini’s Norma, with the last time being in Ravenna 1994 with Jane Eaglen singing the titular role (FYI – there’s a fantastic live recording of the performance from EMI). And it’s been 10 years since Maestro conducted Verdi’s Nabucco. Now, both Norma and Nabucco have been two of my favorite operas for a very long time, so the fact that Maestro Muti was going to be conducting both of them, in addition to a special “Gala Verdiano” for this year’s Autumn Trilogy at the Ravenna Festival meant that it was time for some travel!
It was absolutely incredible to be able to go back to Ravenna and be fully immersed in Italian opera performed at the highest level. Seriously, there is nowhere else in the entire world where you could hear both Norma and Nabucco, arguably the two greatest masterpieces of early 19th century Italian opera, conducted by the greatest conductor in the world today (not to mention the master of all things Italian opera). The clarity and precision that Maestro Muti brought to both of these operas, coupled with the sheer drama and expressive beauty of the melodic line (particularly in Norma) was so very refreshing to hear live, especially because this type of musical (both orchestral and vocal) refinement isn’t in large supply these days. The poignancy of how Adalgisa implores for mercy from God (“Gran Dio, abbi pieta!”) in Act I, the charged intensity (“Perfido!…Or basti”) of the Act I finale between Norma, Adalgisa, and Pollione, how the celli play so heart-wrenchingly at the beginning of Act II (mirroring the vocal line of Norma in the subsequent “Teneri figli”), or the final duets between Norma and Pollione (“In mia man alfin tu sei” and “Qual cor tradisti”)…these are just a few of the many incredible moments of Norma that make this opera one of the greatest in the entire repertoire.
While Norma was amazing in its own right, I do have to say that Nabucco was just on another level. That moment when Nabucco gets hit by the lightning bolt and becomes delusional (“Chi mi toglie il regio scettro?…”) or when Nabucco and Abigaille sing their duet (“Donna, chi sei?”) in Act III was filled with so much dramatic tension and intensity…extraordinary to witness live in the theater. And of course, you can’t forget “Va, pensiero”…the way Verdi writes such a quiet, but intense beginning, building up to such passionate, desperate pleas for freedom from the enslaved Hebrews, with the most indelible of melodies, was handled with such care by Maestro Muti, orchestra, and chorus. It was pretty cool to hear some in the audience yell for an encore of the famous chorus, with yells of “Bis, bis!” ringing throughout the theater, which is actually the first time I’ve ever experienced that (ah, the things that happen in Italy with Maestro Muti!).
After two performances each of both operas, taking place in the span of just five days (which is an absolutely mind-blowing feat), there was only the Gala Verdiano left for the conclusion of the trilogia. This celebration of Verdi, with the Overture and selected pieces from La Forza del Destino (“Pace, pace mio Dio”, “Il santo nome di Dio…La Vergine degli Angeli”), Simon Boccanegra (“A te l’estremo addio…Il lacerato spirito”), Il trovatore (“Ah, si ben mio”, “D’amor sull’ali rosee”, “Stride la vampa”), Macbeth (“Pieta, rispetto, onore”, “Ah, la paterna mano”, “Di destarlo per tempo il Re m’impose”), Otello (“Ave Maria”, “Vanne; la tua meta gia vedo…Credo in un Dio crudel”), Don Carlo (“Ella giammai m’amo”), and I vespri siciliani (“Arrigo! Ah parli a un core”), was such a fitting conclusion for this amazing week. In addition to all this incredible music, it was great to catch up with everyone, while reveling in the history, charm, and culture of Ravenna (the food is always so delicious!). What a perfect way to end 2023 🙂
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