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Fred Cohn
Opera News, March 2020

CASELLA, A.: Donna serpente (La) [Opera] (Teatro Regio Torino, 2016) (NTSC) 2.110631
CASELLA, A.: Donna serpente (La) [Opera] (Teatro Regio Torino, 2016) (Blu-ray, HD) NBD0096V

The four clowns—Francesco Marsiglia, Marco Filippo Romano, Fabrizio Paesano and Fabrizio Beggi—capture the whimsy of their assignments and mesh into a true ensemble. Erika Grimaldi copes fearlessly with the dramatic-soprano demands of the role of Armilia, Altidòr’s warrior-princess sister. Noseda, who at the time was the Teatro Regio’s music director, brings his customary vigor and precision to what is clearly a labor of love, and he receives a hero’s greeting at the curtain call. © 2020 Opera News Read complete review



Opera Now, September 2019

CASELLA, A.: Donna serpente (La) [Opera] (Teatro Regio Torino, 2016) (NTSC) 2.110631
CASELLA, A.: Donna serpente (La) [Opera] (Teatro Regio Torino, 2016) (Blu-ray, HD) NBD0096V

…Conducted by Gianandrea Noseda with great commitment and a strong Italian cast… © 2019 Opera Now




Record Geijutsu, September 2019

CASELLA, A.: Donna serpente (La) [Opera] (Teatro Regio Torino, 2016) (NTSC) 2.110631
CASELLA, A.: Donna serpente (La) [Opera] (Teatro Regio Torino, 2016) (Blu-ray, HD) NBD0096V

Beautiful staging and playing of music! Noseda provides support with his perfect conducting and the singers respond without fail. Nothing disappoints in the viewing and listening experience. Well done! © 2019 Record Geijutsu



OperaJournal, July 2019

CASELLA, A.: Donna serpente (La) [Opera] (Teatro Regio Torino, 2016) (NTSC) 2.110631
CASELLA, A.: Donna serpente (La) [Opera] (Teatro Regio Torino, 2016) (Blu-ray, HD) NBD0096V

The Turin production certainly makes the most of it under the musical direction of Gianandrea Noseda and some fine singing performances. You can’t fault how Carmela Remigio meets the challenges of the role of Miranda, and Pietro Pretti gives a strident dramatic Altidòr, but all the cast are good, even if the characterisation is rather one-dimensional. Above all, Arturo Cirillo’s production presents the work exceptionally well. © 2019 OperaJournal Read complete review



David Denton
David's Review Corner, July 2019

Spending 19 years in France with Faure as his mentor, Alfredo Casella returned to Italy in 1915 with the avowed aim of taking music into a new 20th century world. That statement you might have read somewhere, if so, forget it. Just find a comfortable chair, sit back, and enjoy his one and only venture into opera with the 1931 score, La Donna Serpente (The Snake Woman). Suspend reality for a bizarre story that you will recognise as a mix of Prokofiev’s The Love of Three Oranges and the second act of Puccini’s Turandot with its mix of grand opera and the frivolities of the Comedia dell’arte. To describe the action in this brief revue would be impossible, but it centres on the marriage of a fairy princess to the King, and her father’s ‘curse’ that she will turn into a snake if ever she and her husband have a disagreement that leads to him cursing her. After his cruel  trials and tribulations, he does eventually curse her and she turns into a snake. But love triumphs and the story ends happily. The challenges of staging the work, and employing its massive cast, soon placed it among that group of ‘rarely seen’ operas. Thankfully this bold enterprise, coming from Turin in 2016, with Arturo Cirillo directing, is an extremely colourful and brilliant success, where you begin to accept the unbelievable. He was, thankfully, working with the outstanding chorus and orchestra of the Teatro Regio—conducted by Gianandrea Noseda—who go way beyond ‘the call of duty’. In the leading role of Miranda, Carmela Remigio is one of today’s leading Italian sopranos in high demand in the world’s leading opera houses. Totally committed in an exacting role, she is partnered by the Sardinian tenor, Piero Pretti, who is often called upon to go into that upper stratosphere, the conclusion in a duet of sheer exultation. To bring the comedy to life, the Italian trio of Francesco Marsiglia, Marco Filippo Romano and Roberto de Candia are superb both vocally and characterisation. And so I could down the whole cast list in an equally enthusiastic mode, not forgetting the Romanian bass-baritone, Sebastian Catana, imposing in voice and stature, as the evil, Demogorgon. Then we come to the costume designer, whose colourful dress is a constant source of pleasure, the opera combining ballet, supplied by Fattoria Vittadini, with choreography by Riccardo Olivier. The filming in ‘live’ performances is highly imaginative, perfectly balancing the need for ’close-ups‘ with scenes where the stage is filled with an enormous chorus. There are the usual multi-lingual translations for the sub-titles, and the release also comes on Blu-ray NBD0096V. As dedicated and lifelong traveller to wherever I needed to go so see rare opera, this has come as a fantastic surprise, pleasure and revelation. Don’t miss it. © 2019 David’s Review Corner



Mike Ashman
Gramophone

CASELLA, A.: Donna serpente (La) [Opera] (Teatro Regio Torino, 2016) (NTSC) 2.110631
CASELLA, A.: Donna serpente (La) [Opera] (Teatro Regio Torino, 2016) (Blu-ray, HD) NBD0096V

La donna serpente is a great and relatively unsophisticated joy to watch and to listen to, a kind of commedia dell’arte pop music in sound and vision.

The chorus and dancers—and a large supporting cast including a quartet of Ping, Pong and Pang-like courtiers—play a huge part akin to that of the latter-day musical. … The show in 2016 was under the more than capable baton of Gianandrea Noseda, then music director of Turin Opera. It’s obviously well prepared and delivered. The two lead lovers—Piero Pretti as the mortal King Altidòr and Carmela Remigio as his fairy bride © 2019 Gramophone Read complete review on Gramophone





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