2006: Poliuto For its 10th anniversary season, the Chicago company has unearthed another Donizetti treasure, the seldom heard and unjustly neglected "Poliuto." An Italian opera seria written in 1838, "Poliuto" was censored and then transformed into the French "Les Martyrs." It fell into obscurity for more than a century, until revivals at La Scala in 1940 and 1960 -- the latter spurred by the legendary Maria Callas. And so during a weekend in which the local classical music community bade farewell to CSO music director Daniel Barenboim, it was fitting to welcome a work that had not been heard here since 1865. Based on a critical edition published in 2000, this production of "Poliuto" was billed in the program as "the first complete performance by a Chicago company for the Chicago audience." In keeping with that sense of occasion, da Corneto offered outstanding turns across the board Sunday at St. Hilary's Church in the first of its two performances of "Poliuto." Everyone rose to the challenge of executing this notoriously demanding score. From conductor Giampaolo Bracali's incisive command of the accomplished orchestra to the stellar chorus led by artistic director Alvaro Ramirez to the wonderful principal vocalists, excellence abounded. For a work consigned to the operatic dustbin, "Poliuto" contains many notable passages, including the unusually scored overture with foreboding notes sounded by bassoons (lovely work here by John Gaudette and Steven Ingle) and an Act 2 choral scene that opera scholars cite as the inspiration for Verdi's famous Triumphal March in "Aida," written 30 years later. In addition, "Poliuto" marks an advance in the tenor line because it "pushes the vocal envelope as far as it can go," writes opera scholar Gregory Riggs. In this work, Donizetti requires "the performer to combine the sheer agility of a Mozartean with brute vocal strength." Furthermore, with its theme of Christian martyrdom, "Poliuto" hints at contemporary relevance. Though it unfolds in third-century Armenia, where the Roman magistrate Poliuto fears religious recriminations and possible betrayal by his wife Paolina, the opera invites parallels to current world flashpoints. In the title role, tenor Christopher Bengochea was thrilling throughout, especially in the Act 2 aria "Sfolgoro divino raggio," where he begged forgiveness (and also managed to nail the money notes in the process). With his ringing sound and elegant phrasing, Bengochea was the very model of a martyred hero. As Paolina, soprano Kelli Finn initially sounded tentative but gained confidence as she spun out delicate legato lines in arias such as "Un turbamento arcano." Later, in the Act 2 finale, she displayed laserlike intensity as her voice soared over the full-throttle chorus. Playing the Roman proconsul and romantic rival Severo, baritone Dennis Jesse closed out Act 1 in rousing style with the aria "No, l'acciar non fu spietato." Doing double duty, Ramirez also shone in the bass role of the high priest Callistene. In the Act 3 opening scene with the chorus, his gleaming, darkly burnished voice provided a rock-solid anchor. In smaller parts, tenor Bartholomew Bernacchi as Felice and tenor Stephen Cannon as Nearco made essential contributions to the overall excellence. With its impeccable ensemble work and intelligent execution, da Corneto makes a strong case for this forgotten bel canto gem. Though 19th century censors might have found it wanting, by musical standards alone, it deserves a place in the modern repertory alongside Donizetti staples such as "Lucia di Lammermoor." Da Corneto repeats the performance Saturday at a venue new this season
for the company, the Torrey-Gray Auditorium on the Near North Side. Catch
it now, or you might have wait another hundred years to hear "Poliuto" gloriously
live in Chicago. |