I Vespri Siciliani is not one of the best Verdi operas. If I remember correctly it was composed in Verdi's "middle period" for composing and of the operas of this period I Vespri Siciliani sticks out to me the least. There is nothing wrong with the music, while not as melodically rich as La Traviata, Rigoletto and especially Il Trovatore it has several great moments, Merce Dilette Amiche, In Braccio Alle Dovizie, O Tu Palermo, Quando Al Mio Sen and Giorno Di Pianto are the highlights as well as one of his best ever overtures(La Forza Del Destino is still king in this regard though). No, the music isn't the problem with I Vespri Siciliani, but the story and length. The opera is overlong and the story just isn't enough to sustain it.
The opera is well served generally on record, the Levine RCA recording from the early 70s stands out to me as really excellent. There are not many DVDs though, but what we have make for interesting viewing. The best of the lot is the Merritt/Studer/Zancanaro/Furlanetto La Scala production with Muti conducting. The 1986 Susan Dunn production is also very good, I've not yet seen the Barbara Haveman production. This one is a worthy one, though I don't consider it a great production like the one from La Scala. Visually, I have seen worse productions about, at least there isn't anything hugely distasteful. The only really bit of staging that genuinely distracted was in Elena's Merce Dilette Amiche with the man and woman in the box seat. Still I did find it a bare-looking production and one where the costumes while far from ugly were vaguely-evoked and the side run-ways that constantly see people coming and going just detracted from the intimacy that you'd expect from a venue as beautiful as Teatro Verdi.
From a technical standpoint, the production is not bad at all. It does have good video directing, though in want of more intimacy, the picture quality is sharp and the sound is clear and the capturing of the orchestra and voices balance well.
Musically, it fares much better. It is not a complete performance, there are cuts. Some may object, I know people that have issues with cuts in opera performances, but others may say the performance and opera benefit. I'm usually not fussed about cuts, though I like it when it is complete, but with I Vespri Siciliani as good as the music is I think it is an example of an opera that benefits from trimming. It is a shame about La Brezza Allegia, but the omission of the ballet I can completely understand. I personally like it but thirty minutes worth of ballet is admittedly a long haul for anybody. The orchestra do play superbly throughout, the chorus give spirited well-blended singing and Stefano Renzani's conducting while not perhaps energetic is sympathetic and accommodating, which is actually more preferable I think.
Amarilli Nizza is a fine and highly involved actress. She has a lovely middle register, she does sing with a command of her voice and Arrigo, Ah Parli Ad Un Core is beautifully shaded and moving. I do think however some of her top notes can sound a little too hard-edged, there is some slight huskiness in chest voice and Merce Dilette Amiche is a mess stylistically sadly. Renzo Zulian surprisingly is also a very good actor, and sings with ping and assurance. Where he isn't so good is that some of his style is somewhat rough-around-the-edges for my tastes. The lower voices actually fare much better. I love the warmth and sumptuousness of Vladmir Stoyanov's baritone voice, he is authoritative and powerful in presence especially in Act 3(especially good as Monforte's best moments are in this act), he sings and act with feeling and he has great musicianship. Most impressive was Orlin Anastassov's Procida, what a find! Whether he is on the young side doesn't matter when his voice is as gorgeous and smooth as it is, sounding- and looking- like a young Nicolai Ghiaurov(I seen this comparison twice before so these are not my own thoughts in case you're wondering) and when his acting is so magnetic! On the whole, quite good on the whole and definitely worth a look, if more successful musically. 7/10 Bethany Cox
The opera is well served generally on record, the Levine RCA recording from the early 70s stands out to me as really excellent. There are not many DVDs though, but what we have make for interesting viewing. The best of the lot is the Merritt/Studer/Zancanaro/Furlanetto La Scala production with Muti conducting. The 1986 Susan Dunn production is also very good, I've not yet seen the Barbara Haveman production. This one is a worthy one, though I don't consider it a great production like the one from La Scala. Visually, I have seen worse productions about, at least there isn't anything hugely distasteful. The only really bit of staging that genuinely distracted was in Elena's Merce Dilette Amiche with the man and woman in the box seat. Still I did find it a bare-looking production and one where the costumes while far from ugly were vaguely-evoked and the side run-ways that constantly see people coming and going just detracted from the intimacy that you'd expect from a venue as beautiful as Teatro Verdi.
From a technical standpoint, the production is not bad at all. It does have good video directing, though in want of more intimacy, the picture quality is sharp and the sound is clear and the capturing of the orchestra and voices balance well.
Musically, it fares much better. It is not a complete performance, there are cuts. Some may object, I know people that have issues with cuts in opera performances, but others may say the performance and opera benefit. I'm usually not fussed about cuts, though I like it when it is complete, but with I Vespri Siciliani as good as the music is I think it is an example of an opera that benefits from trimming. It is a shame about La Brezza Allegia, but the omission of the ballet I can completely understand. I personally like it but thirty minutes worth of ballet is admittedly a long haul for anybody. The orchestra do play superbly throughout, the chorus give spirited well-blended singing and Stefano Renzani's conducting while not perhaps energetic is sympathetic and accommodating, which is actually more preferable I think.
Amarilli Nizza is a fine and highly involved actress. She has a lovely middle register, she does sing with a command of her voice and Arrigo, Ah Parli Ad Un Core is beautifully shaded and moving. I do think however some of her top notes can sound a little too hard-edged, there is some slight huskiness in chest voice and Merce Dilette Amiche is a mess stylistically sadly. Renzo Zulian surprisingly is also a very good actor, and sings with ping and assurance. Where he isn't so good is that some of his style is somewhat rough-around-the-edges for my tastes. The lower voices actually fare much better. I love the warmth and sumptuousness of Vladmir Stoyanov's baritone voice, he is authoritative and powerful in presence especially in Act 3(especially good as Monforte's best moments are in this act), he sings and act with feeling and he has great musicianship. Most impressive was Orlin Anastassov's Procida, what a find! Whether he is on the young side doesn't matter when his voice is as gorgeous and smooth as it is, sounding- and looking- like a young Nicolai Ghiaurov(I seen this comparison twice before so these are not my own thoughts in case you're wondering) and when his acting is so magnetic! On the whole, quite good on the whole and definitely worth a look, if more successful musically. 7/10 Bethany Cox
