by Janet in AZ
It was hard to believe I was in Verona, Italy and would
soon be seeing Andrea Bocelli and Steven Mercurio perform
L'amico Fritz. Everywhere I looked I saw a world of
wonderful contrasts -- the blending of old and new. There
were awe-inspiring antiquities such as the Arena which
provided a backdrop for the modern-day bustle of taxis and
people walking or riding bicycles while talking on their
cell phones.
It seemed incongruous yet appropriate at the same time
because my friends and I were about to see a century old
opera performed by two distinctly modern and somewhat
unconventional musicians (by traditional opera standards).
Bocelli -- the tenor who dares to come to opera via pop
music fame. Mercurio -- who has committed blasphemy by
conducting for Michael Bolton and Hollywood movie scores.
Never mind that Bocelli's voice is a miracle. And no
matter that Mercurio is a remarkable conductor and
composer who has an uncanny ability to get the most from
the orchestra while tactfully adjusting to best complement
the performers on stage. Both men love opera and have a
desire to interpret this ages-old art form in a way that
is relevant to, and can be enjoyed by, today's masses. I
was so looking forward to this!
We were beside ourselves with excitement as we approached
the Teatro on opening night. There were so many beautiful
people in their furs and opera "best." Was this what is
referred to as "la bella figura?" We were early so we
could say "hello" to old acquaintances and meet new
Bocelli and Mercurio enthusiasts. And there were many. The
Teatro was small and beautiful with velvet seats and glass
chandeliers. Then we caught glimpses of the Bocelli
entourage: Carlo Bernini, Alberto, Michele Torpedine,
mamma Edi and Enrica. Enrica was absolutely stunning!
Long, wavy brown hair and a beautiful smile. She passed by
very close looking for her seat. Then the lights dimmed.
Mercurio was welcomed with applause. He was very handsome
in his tux and very confident and energetic in front of
the orchestra. He was clearly "in charge" of the moment.
Then, the overture was finished and the focus shifted to
the stage. The set and lighting were very dark. At times,
the faces of the performers were in shadows. Finally,
Bocelli appeared on stage. He was as handsome
as ever, appeared well rested, and moved confidently about
the stage. He was in excellent voice although,
understandably, he seemed a bit tense at first. His
portrayal of Fritz was understated and sensitive (the way
I like it) and effectively established the character.
Act Two began with Suzel in the cherry orchard. Cecila
Gasdia played the role beautifully, with good expression
and emotion. She often sang with great feeling and a warm,
clear quality but at times, on some of the higher notes, I
thought she was a bit "off." Bocelli entered the scene in
a rather daring way. He appeared at the top of a ladder in
a tower and took a few steps down. You could hear the
audience gasp and hold its breath! But he mastered the
steps with confidence then joined Gasdia in the Cherry
Duet. The chemistry between the two was just right and
they made a very attractive couple that you cared about
and wanted to get together. They were wonderful. Bocelli
was much more confident and his voice stronger. His voice
was warm and expressive with a diminuendo (or is it
pianissimo?) that would make ice melt.
The third act was introduced by the truly brilliant and
moving Intermezzo. Mercurio was in fine form, animated and
intense yet clearly having fun! He got a big performance
from a fairly small orchestra. (Very small orchestra pit.)
They received a huge ovation with cries of "bravo" and
"bis."
Bocelli sang with much emotion and expression. His aria
was beautifully done and very moving. His acting in the
third act was good and successfully conveyed the
character's conflicts and emotions. Again, the chemistry
between Fritz and Suzel was just right and the audience
was thrilled with the happy, romantic ending. There was
much applause, many shouts of "bravo" and "brava" and
curtain calls. Bocelli was his usual humble self and tried
to avoid individual recognition in spite of Gasdia's
efforts and encouragement. But he refused to let go of her
hand!
After the performance, we gathered near the entrance, just
around the corner from the stage door exit. We saw a
number of the performers emerge, mamma Edi and even Ramon
Vargas. Finally, Bocelli appeared with Enrica, Alberto,
and others. As they passed us, the crowd applauded and
shouted "bravo." He looked back, gave us that big, heart
melting, turn-your-knees-to-jelly smile of his, then
continued on his way.
The second and third performances just got better and
better. Bocelli became more relaxed and engaged with the
other actors and even more convincingly "Fritz." His vocal
performance went from wonderful to magical. Exquisite
trills and diminuendos. Always able to be clearly heard
yet at times incredibly, beautifully soft and full of
emotion. His phrasing and breath control on the long notes
were brilliant as always. The ovations were even more
enthusiastic and many of the "bravos" were distinctly
Italian. It was not just the Americans or Germans who
loved his performances! Again, great performances of the
Intermezzo and much applause and cries for more. The
violin solo brought tears to my eyes each night. Wonderful
ovations for the violinist as well.
After these truly special performances, what would the
final performance be without OFT? In the fourth and final
performance, Fritz was played by tenor Francesco Piccoli.
The atmosphere in the Teatro in the beginning was a bit
subdued and seemed to carry over throughout the first act.
However, the energy level rose considerably in the second
and final acts. Piccoli's interpretation was much more
physically animated, even melodramatic, it seemed to me.
In fact, all the performers seemed more animated this
night. Piccoli did a fine job and had a wonderful voice.
But I missed the special "connection" I feel when
listening to Bocelli. When Bocelli sang, particularly in
the second and third performances, I heard what seemed to
be the expression of sincere and varied emotions. Very
touching and powerful. What a tough act for this young
tenor to follow! It was a very enjoyable performance
overall and, for me, the highlights were the Intermezzo
and the violin solo. The audience seemed to agree and was
generous with its applause.
The "crowd" outside the stage door this final night was a
little smaller but no less enthusiastic. The performers
were once again greeted with applause or other expressions
of appreciation as they left. We were especially glad we
could give a proper thanks and farewell to Andrea's good
friend and OFC (Our Favorite Conductor), Steven Mercurio,
as he left. And with that done, it was "Time to Say
Good-bye" to Fritz and friends.