By Mária Albert, from the Hungarian daily "Magyar Hírlap", 23-Dec-96
The Opera House showed in two evenings Vincenzo Bellini's rarely heard opus, "I Puritani" in concert form. The performance was a co-production, the Opera House gave the space, the work was performed by the Opera Historica Foundation, established recently, by members of the ensemble.
The last work of the composer is a seldom performed piece on the opera-stages, because, in spite of its musical values, the story can hardly be followed - the often-ridiculed libretto of "Trovatore" is a piece of cake compared to "I Puritani" which tells a story of 17th century England. But the belcanto melodies, as in all Bellini operas, have direct access to the heart and sweep away the audience with them if they give themselves over to the music... The choir-scenes, the ensembles, the arias are structured in accordance with the characteristics of Italian opera. The music is entirely enjoyable in concert-form performance - the richly manned choir and the imposing orchestra could concentrate fully on the finesse of the musical construction.
"I Puritani" has not only a complicated plot, but needs brilliant performers as well. The opera was performed under the leadership of Rico Saccani, the well-known Italian conductor. Saccani has not been in Budapest for the first time. In 1986 for example he conducted Puccini's "La Boheme" (Luciano Pavarotti was the Rodolfo of that. performance). The maestro often chooses Hungarian works in his concert programs; one of his "bests" is Kodály's orchestral work, the Dances of Galánta.
For the high tenor role Saccani took with him his "discovery" Gianni Mongiardino, who after the initial stage fright of the first performance gradually regained his composure. He was able to stand the throat-killing role with stamina till the end, sometimes his vocal force was even a little bit too much. His changing dynamics, however, were well-balanced by the fact that his singing was clear and sure. I wish the Hungarian State Opera had at least a dozen of such correct - and able-to-develop - tenors...
The also voice-killing soprano role of Elvira, written originally for the voice-phenomenon Giuditta Pasta, a contemporary of Bellini, was sung by Márta Szücs, the president of the Opera Historica Foundation. Szücs' meeting with the role of Elvira created a fantastic pleasure for the audience: her heights are transparent, the complicated coloratura appeared to be easy and light. The plasticity of the musical formation gave space and figure to the heroine; even without stage-sets and costume it offered full dramatic illusion. Anatolij Fokanov has, by now, his own claque on the evenings he appears on stage. This time he fully deserved the celebration, the very difficult baritone role of Sir Richard Forth was performed sensitively and enjoyably. The young bass Tamás Clementis achieved also a considerable and also well-deserved success in the role of Lord Walton, also Katalin Mészöly as Queen Henriette.
(translated from Hungarian)
By Miklós Fáy, from the Hungarian daily "Népszabadság", 24-Dec-96
A foundation here or there... Rather here. The opera visitor was informed by a leaflet that the Opera Historica Foundation had been established. For a moment the aim is not clear: is it to ease the already almost tragic financial situation of the artists, or are there other tasks, too? Yes, there are. They will present historical operas. First Bellini's "I Puritani", which, though as far as authenticity is concerned, is no more historical than "Aida" - but it is not on the repertoire. And, since the president of the foundation is Márta Szücs, we have the leading lady, too.
A wonderful performance was born, though first of all the credit should go to Bellini, he is the composer of this work which is a masterpiece in its every moment, suitable also for performed as a concert. A real opera, music which is sung. There is no need for history - or even for a story. The plot about Elvira, who gets cured from and falls back into madness in every act, is just a ballast. Stage and costumes are not necessary; what is necessary is that the singers should not just hum but some text should serve the tunes.
And the singers are grateful, not all of them of course, and it was depressing to see, that Miklós Király, a so endowed bass, loses heart to such an extent. The president of the foundation, however, brought her best form, which, for me, is not the nice voice, not the sure heights, and not even the bel canto technique, but before all, the ease. Each tone comes naturally, seemingly without any effort. Márta Szûcs speaks fluently Bellini's language and this fact in itself justifies the reason why "I Puritani" was performed.
This alone would not be enough for the success, but there were the others as well. Anatolij Fokanov, who is almost always good, though his singing can be dull now and again. He excelled in a role difficult even for him, and it became obvious how much those who know Fokanov as a singing machine only underestimate him. He has both real and stage weight and importance. I have never heard Tamás Clementis - this is a double-edged praise - sing so well. And there was the Italian tenor Gianni Mongiardino, who has a high voice which is approximately as lyric as a coffee-mill. In all cases, the singer of the exterior of a paraphenomen was pressing out from himself the heights with great endeavour and anyway, this opera cannot be performed without a tenor.
It is unusual if more than one singer brings his/her top form at the same time. And if in addition the orchestra, the usually bored instrumentalists of the Opera House play clearly, with rhythm, impetus and enthusiasm, then it is obviously the conductor who is unusual. Unbelievable things happened Saturday night. In the person of Rico Saccani the ensemble was headed by a conductor who knew what he wanted, had good hands, did not let the singers get lost, when it was necessary he helped them back or went after them, he was flexible, determined and communicative.
"I Puritani" is a difficult case. To the refined, virtuoso singing we need to find the evident, natural pulsation as well. Saccani was able to balance the work from the beginning to the end between artisticum and simplicity. Show is not too far away from him: he likes to signal what a good expert he is, he sings with the soloists, smiles, shakes his head, gets angry and praises, but he is entitled to do all these. He carried the whole performance on his shoulders.
Unbelievable things happened in the Opera. They played "I Puritani" as a healthy, enjoyable performance in an extremely good mood. Afterwards I went home, woke my slumbering family to tell them that they should not rack their brain any more to decide what to buy for me for Christmas, I have already got my Christmas present this night.
(translated from Hungarian by the Opera Historica Foundation)