Regularly, the Opéra Royal de Wallonie invites major stars of the operatic firmament to give a recital. This time it was the turn of one of the finest basses of the moment, Ildebrando D’Arcangelo. A voice like a sonorous bell and a presence that is irresistible. And then there was Speranza Scapucci, chief conductor, who is gradually proving to have a remarkable positive influence on ‘her’ orchestra.
For a brief moment it seemed that the enthusiasm with which we looked forward to this performance might be dampened: the artistic director of the opera, Stefano Mazzonis di Pralafera, came to announce in his typically charming manner that the singer was ill, but would perform nonetheless. He therefore asked for an understanding and, above all, encouraging round of applause. That “souffrant” condition of the star turned out to be rather meagre – at least for the audience. The singer himself did seem to suffer from not feeling optimal, but he is so technically schooled and practised that the singing itself suffered little. It is almost nitpicking to point out that here and there in a pianissimo phrase the deep tone was not entirely controlled (end of Fiesco’s aria). The commitment and expressiveness with which the singer delivered the well-composed programme were downright overwhelming.
The first part of the programme featured rather intimate arias from the Verdi repertoire. Fiesco’s sorrowful aria from Simon Boccanegra, the anxious Banco and, above all, the deeply disillusioned Philippe II. The bass sang the aria Ella giammai m’amò from Don Carlos with a moving empathy that made Philippe II’s emotional pain palpable. This part ended with an aria from an early Verdi opera, Attila, which gave the singer’s virtuosic power full scope, as Attila convinces himself not to be daunted by the threat of the pope.
Power and bravado
These qualities dominated the second part of the concert. Here D’Arcangelo had gathered a series of arias from Mefistofele, the devil in charge in both Boito’s Mefistofele and Gounod’s Faust, with the sparkling aria of the equally diabolical Don Giovanni as the closing highlight. It seemed as though the perfidious character he expressed so intensely made him forget that he was a little unwell. He increasingly seemed to enjoy his devilish vocal parts, and he sang not only with energy and long-held breath, but also with a nuanced vocal attack that gave the sly tricks their precise accents.
Besides the fantastic singer, there was also the equally fantastic conductor. On earlier occasions Speranza Scapucci had already received praise here (most recently for Madama Butterfly). It was a pleasure to watch her conduct on stage: her efficient movement of hand and sometimes her whole body, always elegant and supple. Her eye contact with the singer, her visible involvement with her musicians. It is evident that the orchestra holds someone with her commitment and expert knowledge in high regard… At the end of the concert it was also made very sympathetically clear that she appreciates the effort of her orchestra. Rightly so, the cellist who had played the introductory melody for the aria Ella giammai m’amò so heavenly received not only a flower but also a warm embrace. Heart-warming!
- WHAT: concert Opéra Royal de Wallonie-Liège
- WHO: Ildebrando D’Arcangelo (bass), Orchestre Opéra Royal de Wallonie-Liège conducted by Speranza Scapucci
- WHERE: Opéra Royal de Wallonie-Liège
- WHEN: Sunday 6 October 2019
- PHOTO: © Opéra Royal de Wallonie-Liège