Triumph with and delay in two centuries The Virgin of the Lake is one of the most virtuoso operas of the great Gioachino Rossini - a pearl in the treasury of masterpieces created by the composer for the Neapolitan theater of San Carlo.
The dramatic basis of the libretto was the poem of the same name by the English writer Walter Scott. The incredible popularity of the works of this author attracted many composers to his works. Originating in the early 19th century, the fashion for medieval aesthetics captured European culture for four decades, becoming one of the most iconic attributes of Romanticism. Stereotyped, melodramatic works of Scott are tailored to boring, uniform patterns, but the composer’s genius Rossini managed to transform another naive stylization of a fictional episode of medieval history into a true masterpiece.
In the strict natural scenery of the Scottish Highlands, a fascinating story unfolds about a fierce struggle for power and love.
The main character Helen - the daughter of Douglas, the disgraced mentor of King James - hides from royal persecution along with his father, who enlisted the support of the militant leader of the mountaineers Roderick, who rebelled against the king. In exchange for patronage, Douglas promised Roderick his daughter's hand. However, the unfortunate Helen languishes in anticipation of meeting her lover Malcolm, wandering along the banks of a mountain pond. This is why she was called the Maiden of the Lake. King James, seeking to join the lives of his subjects, wanders through the vast foothills under the name of the hunter Uberto, i.e. Hubert (in accordance with Italian operatic tradition, all names are transcribed in Italian manner). Accidentally, he meets Helen and, conquered by her beauty, falls in love with the maiden of the lake. However, she remains adamant and soon meets with a returning Malcolm, who intends to join the rebels. An arranged wedding with the rebellious Roderick is coming, but an attack by royal troops interrupts the marriage. The plot whirlwind of the following events is built in an incredibly dynamic pace, periodically fading in the idyllic beauty of beautiful lyrical sketches. Rossini introduces one of the most striking scenes of the confrontation between the two tenors - a vocal duel of Roderick and Jacob, equal in beauty and drama to tenor conflicts from Elizabeth, Zelmyra or Richchardo and Zoraida. However, to surpass the truly brilliant perfection of the clash between Othello and Rodrigo Rossini still failed. In the bloody battle of the armed forces of the rebels and the royal troops, Roderick dies. Helen tries to save his father and Malcolm, who are captured. And the outcast fan of the maiden of the lake - the king - must make a fateful decision.
The Virgin of the Lake is not the most popular work of Rossini, however, this unconditional masterpiece, sparkling with a magnificent, high-quality melody, decorated the repertoire of many operas of the world. But he never played on the American stage. Only in 2015, two centuries after its creation, the repertory premiere of this opera took place in the Metropolitan. The stage design was prepared by the Scottish director Paul Curran, who preferred classical staging methods and visual traditionalism: a juicy, bright color of scenography, conventionally stylized costumes under the silhouettes of the 16th century, a fervent fabulous entourage and a detailed rhythm of the mise-en-scene.
The quartet of the main soloists involved in the performance conquered many opera scenes, shining in unchanged composition for almost a whole decade.
In the title role, Helen is the American mezzo Joyce DiDonato. The light, translucent, almost sopranic sound of her moving, overtone voice clearly outlines every turn of the virtuoso part created for the legendary prima of Isabella Colbran. The well-performed final Rondo Tanti affetti in tal momento! crowned with a magnificent performance by DiDonato.
Beloved Helen Malcolm is a travesti-part performed by the famous Belcantist - Italian mezzo Daniela Barcellona. And although the voice of the singer has already become much worn out and lost impeccable focus, dramatically this tall, large singer is incredibly organic in male images.
A fan of Helen King Jacob is Peruvian Juan Diego Flores, a recognized master of the Russian style. Flores’ voice has already lost its former lightness and dynamism, ease of coloratura and trouble-free performance of the upper notes. And yet impeccable technique, smooth registers, pleasant timbre are still the advantages of this tenor. Jacob's key scene - the kavatina Oh fiamma soave - is performed with great taste, charming cantilene and genuine musicality.
Created for the famous bartender Andrea Nozzari the part of the rival Jacob in love and power Roderick (in the Italian manner of Rodrigo) – performed by American John Osborn. This tenor is one of the best representatives of the American vocal school, the owner of a sensual, courageous timbre, distinguished, at the same time, by high mobility, decent technique, vocal diversity, endurance and incredibly beautiful semitones of mezzo voci. But Osborne is also a master of acting transformation, clearly understanding his dramatic task. The output cavatina Eccomi a voi is performed by the tenor brilliantly, perhaps the staccato revealed a certain rigidity and the lower register was lightweight, but the upper re and a whole scatter of false uppers sounded perfect. And an interesting variation with crescendo diminuendo was a great find tenor. In the famous duet-confrontation of Roderick and Jacob Qual pena in me gi? desta, both tenors effectively exchanged upper do.
Maestro Michele Mariotti demonstrated the benchmark level of conducting and incredible sophistication in Russian musical style.
The Metropolitan Choir once again confirmed its high status, conquering the impeccable coherence and power of mass scenes.
Of course, this is a very decent video version of the Virgin of the Lake, although there are more brilliant performing samples, one of which is a recording from Milan’s La Scala 1992 with an unrivalled duet of great American tenors Rockwell Blake and Chris Merritt. However, given the current state of the world’s operatic performing resources, this record really deserves praise. The brilliant debut of the Virgin of the Lake on the American stage, postponed for two centuries.