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This production by director Lamberto Puggelli, who died less than five years ago, was more straightforward and is now revived by Grazia Pulvirenti Puggelli in the beautiful Piacenza opera house as a tribute to her husband's memory. This production has been staged several times over the years and has also been the subject of a DVD recording. The director's intentions are based on the image, evoked by the libretto, of the sea that affects the dramatic tension of this romantic opera. On stage there is indeed the deck of a ship, but Marco Capuana's scenography leaves a lot of empiness to Andrea Borelli's lighting.

Like Vera Marzot's costumes, the scenery is declined in black such as the pirate sails and red the sky at sunset, the glare of the fire, the Ottomans' sails. In the meantime, he saves women from a harem fire, is taken prisoner, flees and returns, too late, to his faithful Medora after rejecting the love offer by the beautiful Gulnara, the pasha's favourite. The ship's deck resonates with the "unlimited minds" of Byron's characters, painted by either passionate or lyrical music in the three acts in which the plot is developed, admirably condensed by Verdi to little more than an hour and a half.

The four characters are not psychologically well defined, but they are theatrically effective. The first we see is the unfortunate Medora, Corrado's lover, who crosses the scene during the short prelude with a lamp in her hand, like a ghost. Serena Gamberoni, even with an excess of vibrato, delineated her character with sensitivity and convicing stage presence.

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Her vocal line was fluid, her phrasing musical and delicate, her voice painting a despondent melancholic mood. The character of a lost and cursed soul summarily portrayed by librettist Francesco Maria Piave was delivered by the Peruvian with enthusiasm and vocal generosity, with high-pitched notes and very open singing that sometimes neglected moments of more delicate musicality.

The sincere enthusiasm and power of his performance compensated for a lack of interpretative subtlety and a stage presence far away from the image of a romantic hero or a muscular pirate. But Rivas, in his debut, conquered the audience all the same.

La forza del destino (Il commissario Bordelli #5) by Marco Vichi

The sensual Gulnara was rendered by Roberta Mantegna. Her timbre was a bit metallic, which at the beginning made her character exotically seductive, but after a while it was tiring to the ears and a smoother emission would have been preferable. Technically, however, the young soprano kept up with the complexity of the role. In the harem scene in which she showed her indomitable personality, as she did in the awakening of love for her saviour pirate, or when she flattered Pasha Seid to save Corrado while brooding revenge, or in the fiery duet with Corrado before she kills the pasha or, finally, in the throbbing trio with Medora dying.

No particular psychological depth characterises Pasha Seid, but Simone Piazzola managed to give a certain dignity to this "villain" with singing that had its own elegance and with a beautiful stage presence, even if his voice was not particularly sonorous and his diction was a little murky. In this Verdi work, we find a paroxysm of affections that is consonant with Matteo Beltrami's energetic conducting. The Genoese conductor was convincing for his choice of tempi, a little less for his choice of dynamics.

In the richly decorated 19th-century auditorium of the Teatro Municipale, there was a sort of competion between orchestra, chorus and principals for decibels. This brought sound levels to limits almost unbearable from my third row seat. Apart from this, the work made with the singers was evident and always accurate. The orchestral performance was quite satisfying and the same can be said is for the resident chorus.

Le scenografie di Marco Capuana lasciano molto spazio al vuoto e alle luci di Andrea Borelli che assieme ai costumi di Vera Marzot puntano al nero come le vele dei pirati e al rosso il cielo al tramonto, i bagliori dell'incendio, le vele degli ottomani. Serena Gamberoni, pur con un eccesso di vibrato, delinea con sensibile partecipazione il personaggio. Il sincero entusiasmo e la potenza sonora con cui ha eseguito la sua performance hanno compensato la mancanza di particolari sottigliezze interpretative e una presenza scenica ben lontana dalla figura di eroe romantico o di aitante pirata che ci si potrebbe immaginare, ma hanno soggiogato il pubblico che ha risposto con entusiasmo alla sua prova.

Ritroviamo il parossismo degli affetti di questo lavoro popolare di Verdi nella direzione energica di Matteo Beltrami. Our privacy policy was last updated on Monday 24 June View it here Dismiss. Sign in. Video Video home Live streams On demand Opera home. Events Reviews Articles.

Bordelli's Odyssey and it was nice to see the story that has encompassed the two books come to a right conclusion. Superb read and thoroughly enjoyable, I think Bordelli is quick becoming my favourite detective, certainly now supplanted Soneri as my favourite Italian fictional detective. I see a lot of comments about needing to read the series before tackling this one. I didn't, but it still worked fine for me. An almost shambolic life events, thoughts and feelings that produced a fascinating journey.

This is my first Inspector Bordelli mystery. Not at all what I was expecting.

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  4. Horror, humour, mystery, romance, history and a sort of justice all in one book. Thanks for lending the books to me, John. Idyllic in some parts, difficult subject in others. Good, solid crime writing Spring, Florence is beginning to recover from a destructive flood, but Inspector Bordelli still feels embittered since his investigation of a young boy's murder went disastrously wrong.

    Per mio amore Cristy

    Bordelli resigns from the force and leaves the city and, in the solitude of his new home in the Tuscan hills, he spends his days cooking, going for long walks and learning to grow his own vegetables. But the thought of that case - of justice not served - is constantly with him. Unti Good, solid crime writing Spring, Until fate, in which he has never believed, unexpectedly offers him the chance of retribution.

    This is the fifth book in the award-winning crime series by Marco Vichi which sees Inspector Bordelli take the law into his own hands.

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    I have only read one of his previous novels a long time ago but found that this didn't ruin my enjoyment of this well written police procedural. Bordelli is endearingly melancholic and flawed and I empathized with his faults. He is stubborn, womanless, cynical and impatient, but strangely appealing all the same, almost an anti-hero in my eyes.

    The story is atmospheric, discursive, humorous and thought-provoking and the basis is just a very good crime story.

    La forza del destino

    I liked the way that Vichi described an ever more secret and dark side to an otherwise sunny and open city. I could tell that the author lives in Tuscany because he brought the region vividly to life on these pages. Italian authors are getting a good name in crime fiction and here is another that I will keep my eyes on. All in all, this was a good, solid crime story from yet another author that I have not really heard of and I am grateful once again to Breakaway Reviewers for giving me a copy to review.

    La forza del destino

    Digger 95 Breakaway Reviewers received a copy of the book to review Not having read the series I still enjoyed this novel. You get enough of the back story that you can follow it along. It is well translated the wonderful Sartorelli of the Camilleri books , and well told. This form does not constitute legal advice and nothing that you read or are provided with on this web site should be used as a substitute for the advice of competent legal advice. If someone believes in good faith that a Lulu Account Holder has infringed their copyright, they can request that we take down the infringing material by filing a DMCA Notice.

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