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| English translation © Maria Kozlova |
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Un
Ballo in Maschera by
Giuseppe Verdi
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Deutsche
Oper Berlin
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Performance
dates 28 and 31 May 1975
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Riccardo
- José Carreras
Renato - Ingvar Wixell Amelia Katia Ricciarelli Ulrica - Eva Randova Oscar - Costanza Cuccaro Silvano - George Fortune Samuel - Victor von Halem Tom - Ivan Sardi Richter - Leopold Clam Diener - Robert Koffmane Dirigent - Jesus Lopez Cobos Inszenierung - Ernst Schröder Ausstattung - Michel Raffaelli, Chöre - Walter Hagen-Groll Tänze - Galina Jor...wa |
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Last
year Jose Carreras introduced himself to the public of the Deutsche Oper
Berlin for the first time in a concert performance of Mercadante's "Giuramento",
and the desire to see him again in an opera performance was strong. The
reunion came about in a dubious "Masquerade" production, but Jose Carreras
made everyone forget the conventionality of the stage. Even opera habitués
had to rummage in their memory: such a Riccardo wasn't heard here long
since. His voice, light and sure, and musical, seemed to dance with notes;
the arias became happy moments: the pure harmony did not overpower dramatic
acting. The singer was in top form during the first performance on May
25, and there could hardly be a match for him at that time. Jose Carreras
set a hard-hitting standard here. This astounding young singer is a challenge.
Another illustrious guest came with him to the Spree: Katia Ricciarelli,
prized and burdened with fame. On 28 May she offered a quite good but not
sensational performance as Amelia. Her well-grounded voice developed quickly;
some imperfection was still evident. Charged with big roles too early her
voice sometimes seemed damaged for the future. The singer was much more
secure during the second performance, and Jose Carreras - who is not married
to her as one Berlin newspaper falsely wrote - was a good and attentive
partner. In the big duet from the second act the two voices, perfectly
blended, received enthusiastic applause. In Berlin one did not make a blunder
of putting together stars and undistinguished artists. Ingvar Wixell with
his mighty baritone capable of piano - the ability used too little lately
- was successful as Renato. Eva Randova showed herself worthy of her partners:
her Ulrica was received with bravos. Costanza Cuccaro as Oscar was
in superb vocal form, and George Fortune (who usually sings Renato) friendly
sang the minor role of Silvano. Victor von Halem and Ivan Sardis gave a
good account of themselves as conspirators. Walter Hagen-Groll's
"Meistersinger" choir proved its good reputation.
Jesus Lopez Cobos had a great part in the successful evenings. The contact with the stage was perfect, and the score received a full-value
reading. There was no tone-dissipation; the orchestra conveyed
the drama with music that breathed and felt with the artists. - Margot
E. Hoffmann
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