The Viaggio performances given by the young artists of the Accademia Rossiniana are always a pleasure. The youngsters regularly outshine international stars bashing their way through Rossini with smudged runs and little sense of style - no names, no pack drill.
This year, Elisabetta Courir deftly adapted Emilio Sagi’s original staging to reflect the individual talents of the young performers. Ryuichiro Sonoda traversed the fizzing score with a rhythmic verve and a keen ear for Rossini’s subtle sonorities, while always supportive of the singers.
The current crop of youngsters achieved a fine ensemble and played to each other with admirable generosity. Theirs was a performance of great wit and effervescence, though the women dominated the proceedings.
Amanda Forsythe, the outstanding Corinna, is technically in command of the role. Required to sing her final aria from the front stalls, she delivered All’ombra ammena flawlessly with every run in place, the legato lines seamless, the vocal line expressively shaped in support of the text. It was perfection.
Equally arresting was Marina Rebeka, who conveyed the sheer fatuity of the Contessa di Folleville without ever going over the top. Her cutting-edge soprano effortlessly surmounted the vocal hurdles, and needs only a touch more bloom to the tone. I’d love to see her play Donizetti’s La Fille du Regiment.
Cristina Faus Vidal’s mezzo Marchese Melibea was a delight, but the fioriture can be sketchy. Tuomas Katajala’s Polish count hurtled around the staves with panache, but the voice is tonally hard-edged. Andrea Mastroni hammed it exuberantly as Barone di Trombonok.