by usia review

OPERAFEST 2024: “Fatal Instinct” — Verismo at Its Most Intense

The grand celebration of the National Opera, lasting 21 days, unfolds this year under the evocative theme “Fatal Instinct.” Now in its 5th edition, OPERAFEST 24 takes place in the magnificent and historic Gardens of the Marquis of Pombal in Oeiras—a setting of rare beauty and historical resonance. It is worth recalling that the Marquis of Pombal was the visionary statesman responsible for the reconstruction of Lisbon after the catastrophic earthquake of 1755.

The festival opened with two pillars of Italian verismo opera:
Cavalleria Rusticana by Pietro Mascagni and Pagliacci by Ruggero Leoncavallo. Both productions were conducted by Maestro Osvaldo Ferreira and staged by Mónica Garnel. In a remarkable artistic feat, Basque lyric spinto tenor Andeka Gorrotxategi and soprano Catarina Molder performed leading roles in both operas on the same evening—an exceptional challenge that few singers would dare to undertake.

These two one-act operas bring tragedy, crimes of honor, betrayal, jealousy, and violent passion into the realm of everyday people—hallmarks of the verismo aesthetic.

Cavalleria Rusticana – Pietro Mascagni

Cavalleria Rusticana revolves around a love triangle, revenge, and moral transgression, portraying the stereotypical image of rural Sicily: passionate, impulsive, and governed by an unforgiving sense of honor. The famous Overture and Symphonic Intermezzo remain among the most lyrical and recognizable passages in the operatic repertoire.

Turiddu, a young villager returned from military service, was sung by Andeka Gorrotxategi, whose voice combines brilliance, power, and dramatic expressiveness with a rounded and luminous timbre. His performance captured both the ardor and recklessness of the character.

Santuzza, portrayed by Catarina Molder, was the emotional core of the opera. Her voice—now darker in color and rich in dramatic weight—proved ideally suited to this role, which is often entrusted to mezzo-sopranos. Her anguish and despair were deeply convincing, particularly in the celebrated aria “Voi lo sapete, o mamma.”

Lola, the object of Turiddu’s betrayal, was sung by mezzo-soprano Leila Moreso, while her husband Alfio was powerfully portrayed by baritone Christian Luján, whose vocal authority and stage presence were particularly striking.

Set on Easter Day, the drama escalates toward its brutal conclusion. In accordance with Sicilian custom, the challenge to a duel—marked by the ritual of ear-biting—is issued. Turiddu’s farewell aria “Mamma, quel vino è generoso”, frequently performed in concert, was delivered with intensity and pathos. The opera ends abruptly with a woman’s cry announcing Turiddu’s death—a hallmark of verismo’s stark realism.

“First the Word, Then the Music”

Pagliacci – Ruggero Leoncavallo

The evening continued with Pagliacci, first performed in 1892, another quintessential verismo work centered on betrayal, jealousy, and murder.

Act I

The opera opens with the famous Prologue, sung by Tonio, who directly addresses the audience, reminding them that what they are about to witness reflects real life and real suffering. This role was convincingly sung by baritone Jorge Martins.

The action unfolds in an Italian village where a troupe of traveling actors arrives. Their leader, Canio, was portrayed with gripping dramatic intensity by Andeka Gorrotxategi, whose vocal stamina and emotional force were remarkable after already performing Turiddu earlier in the evening.

Nedda (Colombina), sung by Catarina Molder, stood out for her excellent stage presence, vocal freedom, and expressive nuance. Her portrayal balanced lightness with underlying desperation.

Rejected and embittered, Tonio spies on Nedda and discovers her affair with Silvio (sung by Rui Baeta). Seeking revenge, he reveals the betrayal to Canio. Overcome with despair, Canio sings the iconic aria “Vesti la giubba”, a moment of raw emotional exposure emblematic of verismo opera.

Tenor Bruno Almeida gave a fine performance as Beppe (Arlecchino), and the Chorus played an important role in shaping the atmosphere of the village community.

Act II

During the performance of a Commedia dell’Arte play, fiction and reality collide. The jealous husband, no longer able to distinguish between stage and life, murders the lovers before the horrified audience. Canio’s final words—
“La commedia è finita!” (The comedy is over!)—close the opera with chilling finality.

Conclusion

This opening night of OPERAFEST 24 was a powerful affirmation of verismo opera’s enduring impact. Through intense performances, committed singing, and a strong musical direction by Maestro Osvaldo Ferreira, the festival began on a high artistic level.

Verismo, with its unfiltered portrayal of human passions, reminds us that opera is not only beauty and lyricism, but also truth, cruelty, and emotional exposure—a mirror held up to life itself.

OPERAFEST continues to establish itself as one of the most vital operatic initiatives in Portugal today.

An Opera Fest Production

 @operafest

Thanks to: Catarina Molder