by usia review
Puccini’s Il Tabarro: Passion and Darkness at Teatro São Carlos
The vibrantly emotional music of Giacomo Puccini filled Teatro Nacional de São Carlos in Lisbon under the baton of Roman maestro Antonio Pirolli. His conducting offered a genuinely Puccinian interpretation, rich in tension and lyricism, transporting the audience into the composer’s dark, melodic, and sublime sound world.
In the demanding role of Giorgetta, dramatic soprano Elisabete Matos delivered a brilliant performance. With a beautiful timbre, secure intonation, and expressive intensity, she conveyed the character’s sensuality and inner torment with conviction. Widely regarded as the most celebrated Portuguese opera singer of her generation, Matos has graced the world’s leading stages—including the Metropolitan Opera, where she performed La Fanciulla del West. Her artistry and authority were once again fully evident.
Italian dramatic tenor Marco Berti, as Luigi, impressed with a powerful voice and unmistakably Italian diction. His interpretation of the aria “Hai ben ragione… meglio non pensare” was delivered with strong dramatic intensity and passionate phrasing, entirely appropriate to the raw, working-class character of the longshoreman. His vocal presence and dramatic commitment anchored the opera’s emotional core.
The role of Michele was sung by Bulgarian bass-baritone Kiril Manolov, whose interpretation displayed vocal harshness at times, softened occasionally by moments of mezza voce. While effective in conveying the character’s brooding darkness, one might have preferred a more lyrical baritone, ideally trained in the Italian vocal tradition, to bring greater vocal warmth and legato to the role.
Although Il Tabarro lasts barely an hour, its concentrated dramatic force leaves the audience wanting more. This production reaffirmed the opera’s power and intensity—and reminded us why Puccini, in even his darkest moments, remains irresistibly compelling.
@TNSC
Thanks to: TNSC