Madrid, July 6, 2025.
The 1840s were a period of tireless activity for Giuseppe Verdi, during the so-called "prison years," or "anni di galera" in Italian. After the success of "Nabucco" in 1842 at La Scala, another success followed in 1843 with "I Lombardi alla prima crociata" (The Lombards at the First Crusade), another epic opera, whose success continued to establish the young composer's fame. There was even a revision of this opera for Paris, called Jérusalem, in the style of the grand opera that was fashionable then. During this decade, and also during the following decade, Verdi composed using the bel canto forms that had established Rossini, Bellini, and Donizetti: demonic ranges for the singers, and aria and cabaletta structures for the major characters. However, Verdi went a step further and evolved; instilling in the music an increasing degree of theatrical tension, a deeper exploration of the characters' emotions, and a brilliant ability to describe atmospheres through the music; one of the composer's skills, already present at this time.
The Teatro Real has been producing concert performances of Verdi's operas from this period, with the exception of the most popular ones, such as Nabucco. This has been the case with Luisa Miller (2016), Macbeth (2017), Giovanna d'Arco (2019), Attila in May of this year, and I Masnadieri next season. This summer, in parallel with the La Traviata performances, two concert performances of these Lombardi have been scheduled, with a top-notch musical team.
Daniel Oren is synonymous with high standards when it comes to Italian opera. The veteran Israeli maestro returns to the Teatro Real to offer his outstanding work. His interpretation of the score, leading the Teatro Real Orchestra, is dynamic and agile, conveying both the passion and dramatic tension of the music. Oren draws from the orchestra a range of sounds, from the sensitive, such as the string introduction in the first act, which sounds like a caress on the piano here, through the rich sound of the horns, to the spectacular in the concertantes, where the orchestra sounds powerful and festive. Oren knows Verdi, knows this style, and demonstrates it, making the performance enjoyable and imprinting his personality on the orchestral performance, making it stand out rather than becoming a mere accompaniment. The third act begins with a virtuoso violin solo that anticipates the famous final trio, here well delivered by soloist Gergana Gergova , who received a resounding applause.
The Teatro Real Choir , led by José Luis Basso, once again demonstrates its versatility in an opera that offers them several performances to show their abilities. Thus, in many of the choruses, some of them being prayers and evocative of sacred music, the female voices sang on a beautiful piano voice, lending a touch of angelic mysticism. Similarly, at the end of Act I, the male voices once again made an impact with their powerful voices. The chorus of Act IV, when the Lombards are about to enter Jerusalem, they nostalgically evoke their homeland, recalling the famous chorus of Nabucco (especially in the attack of voices and brass, or in the moments when they duet with the flute). In this number, the chorus shone as a whole, earning a big applause.
The role of Giselda was scheduled to be sung by Italian soprano Anna Pirozzi, but she had to cancel shortly before the premiere, and was replaced by the young Russian soprano Lidia Fridman . Fridman has a dark voice for this role. She made a great effort to sing the difficult score, especially in her powerful high notes in the famous trio that closes the third act, but her nerves took their toll in the final act. Even so, she was applauded by the audience, who recognized her noble intentions.
Francesco Meli returns to the Madrid with an Oronte in which he was at his best, as far as his vocal means allow. His voice is extremely powerful, sounding youthful and vigorous, although there are moments when it appears somewhat fragility amidst such power. This was the case in the otherwise powerful performance of the aria "La mia letizia infondere". He maintained this high level for the rest of the performance, rendering a beautiful performance in his final aria in Act Four.
The young Peruvian tenor Iván Ayón-Rivas played Arvino, Giselda's father. This tenor's voice has a darker tone. The role he plays is full of presence, but few moments of brilliance. However, in his scene with the chorus in Act III, he surprised everyone with a powerful final high note that earned him much applause and even a smile from his colleague Meli, who was sitting nearby.
Marko Mimica played Pagano, with a light tone, yet at the same time with a noticeable low voice. Miren Urbieta-Vega was an excellent Vicinda . David Lagares was a remarkable Pirro, and Mercedes Gancedo was a pleasant-voiced Sofia. Manuel Fuentes was correct as Acciano as well as Josep Fadó as the Prior.
The theater wasn't full; it was probably half full, or maybe sixty percent full, seventy percent being generous. In fact, there were still a good number of tickets still on sale. Nevertheless, those present applauded wildly during this incredible evening of opera, with a very well-served Verdi performance.
My reviews are not professional and express only my opinions. As a non English native speaker I apologise for any mistake.
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