Newspaper Article

Verdi double dip, poison on the side

Loomis, George

2012

Overview

\"Luisa Miller,\" dating from 1849, four years before \"Il Trovatore,\" is often said to have introduced a new, more intimate style of Verdian opera, primarily because of its heroine. She has a scene involving a letter with prominent clarinet, like the one \"La Traviata,\" yet the opera also resembles \"Il Trovatore,\" which recalls Verdi's earlier, more grandiose style. Indeed, \"Luisa Miller\" has so much in common with Verdi's famous trio of middle-period operas (\"Rigoletto\" is the third) that, given its quality, it ought to be ranked among them. Derived from Schiller, it tells a Romeo and Juliet-like story, although [Luisa Miller]'s lover Rodolfo is the son of the local lord, Count Walter, who misuses his authority to oppress Luisa and her father. Mario Martone's production emphasizes tyranny by means of Sergio Tramonti's decor, which contrasts Luisa's forest abode with an austere, tribunal-like room, symbolizing power, for scenes with Walter. Mr. Martone's direction of the principals could use more of the detailed, hands-on approach that distinguishes Mr. [Tcherniakov]'s work, but the action convincingly unfolds as Verdi conceived it. Apart from the curse, Mr. [Piero Pretti] excels with a sensitively phrased \"Quando le sere al placido,\" the opera's most famous aria, and brings hearty tone to its cabaletta, a precursor of Manrico's \"Di quella pira.\" Tamar Iveri graces Luisa's music with limpid, resonant tone that disappoints only with a few harsh high notes.

• Publisher: New York Times Company
• Subject: Miller, Luisa