Anna Bolena- Orchestra and Choir " Maggio Musicale Fiorentino"
Lucia di Lammermoor (1835) remains the most popular title in the vast catalog of dramas Donizetti, opera seria that consecrated the ultimate success of the composer from Bergamo, it was Anne Boleyn, staged at the Teatro Carcano in Milan December 26, 1830 with immense success, with two interpreters mythical: Giuditta Pasta (Anna) and Giovanni Battista Rubini (Percy). With Anna Bolena Donizetti takes a decisive step towards his accomplished artistic maturity, reaching a dramatic solutions consistently original and tying the storyline of the recitatives with lyrical moments of the pieces closed. And if Donizetti arias and duets composed for this work of extraordinary beauty, also innervates the score with concerted secure dramatic power. Great attention also shows the composer for the psychological definition of the protagonist and his rival so Anna goes from pain to the coldness of Henry the nostalgia for youthful love for Percy, by the outrage at the unjust accusation that the final forgiveness of the new royal couple , while Joan, certainly not insensitive to the love of the king and his future fate of the queen, however, is at the same time tormented by remorse towards Anna, he tries to save his life. Magistral Finally, although allegiance to traditional forms, the stunning finale of the opera, true vocal tour de force for the protagonist. Donizetti Anna writes to an air of poignant lyric emotion: "Al dolce guide me castel native" in which lives, suspended between lucidity and delirium, his whole life, then to hurl the amazing cabaletta conclusive: "Couple unjust" that requires a bel canto exceptional virtuosity, not an end in itself, but perfectly consistent with the dramatic conception of the whole scene. Today's edition puts an end to the absence of Anne Boleyn from the billboards of the Florentine theater that lasted from before the birth of the Maggio (1928). Absence that is worthily filled by deploying exceptional protagonists, the director Roberto Abbado, one of the most respected specialists in the early nineteenth century Italian opera, the director Graham Vick, author of memorable performances at the Maggio including a Lucia di Lammermoor that counts numerous occasions in Italy and abroad. And finally, two queens of bel canto, Mariella Devia and Sonia Ganassi, and in that only the "divine" of melodrama have dared to face.