The picture of Parisian quayside life seems under-rehearsed, and the murderous denouement is risible. With John Macfarlane setting the action in the 1950s and making Buoso Donati’s house a chintzy space with tasteless wallpaper, we have the perfect setting for the shenanigans that take place within. I think it's been an omission: it's a set of works that makes for one of the best evenings of drama you can get in an opera house, and Pappano, Jones and the large Il Trittico can be seen as Puccini’s operatic response to the challenge of cinema: three pacey shorts with flavoursome, impressionistic music designed to project a sense of time, place and action but with less of a focus on the traditional aria. Feel something new at the Royal Opera House, Covent Garden. Music review: Il Trittico, Royal Opera House At last, Puccini's triptych is performed in full in an extravagant production. Using three different designers, Jones treats each opera as entirely self-contained: I suppose I’d hoped he would suggest some unifying thematic link between them, and perhaps the absence of that element explains my disappointment with what is in many respects a deeply rewarding performance. This creates a poignant backdrop against which we can start to understand the individual characters. However, when he sees Michele light his pipe and assumes it is Giorgetta’s signal, Michele realises what is happening and murders him. Miriam Buether’s set takes us to the convent’s infirmary, a Spartan area with pastel green walls, where the sisters tend to sick children. Il Trittico hasn't been staged in full at Covent Garden since 1965. Michele then shows a cloak to Giorgetta who, to her horror, pulls it back to discover Luigi’s body lying underneath. More striking is Suor Angelica, in which the closed-order convent becomes the ward of a children’s hospital, and the nuns members of a nursing order. Schicchi, however, has an axe to grind because the Donatis refuse to allow their Rinuccio to marry his daughter Lauretta because he cannot afford the dowry. No less affecting is the scene in which The Princess and Angelica meet. The composer originally intended for each opera to reflect one part of Dante’s Divina Commedia, although in the event only the final work is based on the poem. What's more, it's shockingly original. The Albanian soprano Ermonela Jaho is touching but not devastating at this point, and although she sings very prettily, she hasn’t got quite enough voice to ride the more heavily orchestrated passages. This is The Royal Opera’s first complete presentation of Puccini’s Il trittico since 1965. As Angelica faints on hearing of her son’s death, they lift and revive her with the clear intention of getting the signature out of her. Although there’s strong singing from Eva-Maria Westbroek and Aleksandrs Antonenko as the lovers, Lucio Gallo’s Michele is too disengaged for his jealousy to make any impact. But it falls short of the total triumph I’d hoped for. There is an effective cool, haughty detachment to Anna Larsson’s tones as The Princess, while as the Abbess Irina Mishura’s voice has great resonance. Il Trittico Royal Opera House review Show 0 comments 1 /1 Il Trittico: Revival directors have done an excellent job Il Trittico: Revival … Opéra : notre avis sur le Blu-ray Il Trittico (Royal Opera House - 2011) de Giacomo Puccini avec Lucio Gallo - Boutique en ligne, achat sécurisé En HD, et anglais stéréo PCM, sous-titré en français, allemand, espagnol et Puccini's Il trittico, The Royal Opera This site uses cookies to improve your experience and to help show ads that are more relevant to your interests. It tells of the death of the rich Buoso Donati. Il trittico, Royal Opera House, review Rupert Christiansen finds the Royal Opera House's production of Il trittico an operatic treat. If only British Catch this for Suor Angelica alone if needs must - Richard Jones brings out levels in Suor Angelica that completely overturn the bad press the opera usually gets. She fulfils her duties well in the pious establishment, but one day her Aunt, The Princess, arrives to instruct her to sign away her share of the family inheritance so that her sister who is about to marry may have everything. As Giorgetta, Patricia Racette sings well, but as Michele, Lucio Gallo sounds strained as if he is having an off-night. Set in Paris, Il tabarro tells the story of barge owner Michele and his wife Giorgetta. As a result, the only theme that really underpins the operas is that they all involve, in one way or another, the concealment of a death. Luigi finds himself unable to leave Giorgetta, and arranges to visit her that night when she lights a match. When the nuns discover the dying Angelica their scurrying activity to hide the horror from the children provides a poignant lead into the final frozen tableau. They live in poverty, and have suffered personal tragedy since their child has died. The director Richard Jones is on home territory with the zany comedy Gianni Schicchi – revived here in its 2007 staging – and though Antonio Pappano’s conducting is heavy-handed and Lucio Gallo isn’t nearly as funny in the title-role as his predecessors Bryn Terfel and Thomas Allen, the show is a witty delight. The presence of bedridden sick children on stage intensifies the atmosphere of mawkishness, but Jones drops Angelica’s final redemptive vision of her dead son under the Virgin Mary’s protection – instead she simply fixes her deluded gaze on one of the little lads she’s been attending. (She was a late substitute for an “indisposed” Anja Harteros.). We can appreciate the sense of distress or claustrophobia that each feels, where the longing for escape can be as strong as either the physical or psychological barriers that prevent it. 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Il Trittico (DVD) - The Royal Opera Composer: Giacomo Puccini DVD Release Date: July 31, 2012 Conductor: Antonio Pappano Director: Richard Jones Artists: Eva-Maria Westbroek Ermonela Jaho Lucio Gallo Elena Zilio Francesco Demuro Orchestra: Orchestra of The Royal Opera House Chorus: Royal Opera Chorus Label: Opus Arte Format: Box set, Classical, Color, Dolby, NTSC, … Il Tabarro and Sour Angelica are new productions, while Gianni Schicchi Tabarro, played pretty straight and powerfully conducted by Pappano, lacks any crackle of erotic tension between the bargee Michele, his wife Giorgetta and her stevedore lover Luigi. This provides an effective dynamic to the opera, ensuring that there is always something to catch the eye as the sisters go about their business serving up food or changing sheets. Il trittico had its premiere at the Metropolitan Opera, New York, in December 1918. Each opera has a different set designer, although paradoxically this highlights as many synergies as it does contrasts between them. A fabulously enjoyable evening of Puccini Il Trittico marks the start of the new Royal Opera House season. As Sister Angelica, Ermonela Jaho delivers the best performance across the entire evening. In Il tabarro Nicola Luisotti’s conducting lacks a little of the sharpness that is paradoxically required to capture the intriguing nature of the score, although his style is seen to much better effect in the other two operas. With nothing to live for, and wishing to join her son, Angelica signs the paper and poisons herself before realising that suicide is a sin. The director is Richard Jones (although here the works are revived by Sarah Fahie and Benjamin Davis) and the joy of the evening lies both in the strength of the individual productions, and the way in which together they create an evening of varying textures and moods. Although the performances are perfectly respectable, the presentation of this opera feels the weakest of the three. Ultz’s set presents a dark image of the bargeman’s life, with the water (upon which the boat appears to sink as much as float) being pitch black. Tune in from 7pm BST on 5 June! In Gianni Schicchi we have the beginnings of Puccini, the expert in heart-rending jolly good tunes. Bodice-ripping melodrama, cloistered nuns, brilliant farce, and three hours of gorgeous music that allows big voices to let emotion rip: I can think of few operatic treats greater than a good performance of Puccini’s unique trilogy of one-acters, Il trittico, and, whatever my reservations, I can’t recommend this new Royal Opera production (the first for nearly half a century) too highly. Lucio Gallo playing two totally different roles and succeeding in them both. 1.1K1.1K Finally, the evening didn’t quite hang together. 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