January 18, 20, 2018
La sonnambula, opera semiseria in two acts
Music by Vincenzo Bellini
Libretto by Felice Romani, based on a scenario for a ballet-pantomime written by Eugène Scribe and choreographed by Jean-Pierre Aumer called La somnambule, ou L’arrivée d’un nouveau seigneur
Fondazione Arena di Verona performances at Royal Opera House Muscat, Oman.
Production owned by Fondazione Arena di Verona
Conductor: Antonello Allemandi
Amina: Rosa Feola
Elvino: Antonino Siragusa
Count Rodolfo: Nicola Ulivieri
Lisa: Barbara Bargnesi
Teresa: Daniela Innamorati
Alessio: Seung Pil Choi
Notary: Alex Magri
Orchestra and Chorus of Fondazione Arena di Verona
Chorus Master: Vito Lombardi
Production, Set and Costume Designer: Hugo De Ana
Revival Director: Filippo Tonon
Lighting Designer: Paolo Mazzon
Choreographer: Leda Lojodice
Photos (link to Rosa's Facebook page)
Excerpt:
Reviews:
"Amina was superbly sung by the elegant, young lyrical soprano, Rosa Feola who honoured Muscat with her debut in the title role, La Sonnambula. [...] Rosa was dazzling in her performance, with perfect control in her impossibly high range, especially the coloratura cadenzas which embellished the conclusion of each aria. During her final sleepwalking aria in Act 2, “Ah! Non credea mirarti” (I didn’t believe you would fade so soon) she sings to the dying posy of violets which Elvino had given her during the first flush of their passion, she gained rapturous applause and cheers from an enchanted audience."
Georgina Benison, "Oman Observer"
"[…] we can now add one more name to the shortlist of sopranos who can justify “La Sonnambula.” […] One of Rosa Feola’s greatest strengths is the ability to combine restraint and passion. And nothing illustrated it better than her heart-melting final sleepwalking scene. […] The tension in her hands and in her voice complemented each other that together they created a striking scene being more than the sum of individuals. Feola’s legato phrasing followed just as how Bellini marked […] her singing was like a creek, subtle yet always keeping a forward flow. […] her way of coloring the text imaginative. […] Feola succeeded in giving emotional meaning to every small note, especially in the repetition, as she applied interpolated ornamentations. Not very often could one hear these sung in style adding to the climax rather than distracting. […] a memorable performance. […]"
Yige Li, "Opera Wire"
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