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Bill White
Fanfare, November 2013

The little known Verdi comedy Un giorno di regno is given a tour de force revival at the Teatro Regio in Parma, featuring the peerless performance of mezzo-soprano Anna Caterina Antonacci, a bit of youthful Verdian arcana not to be missed. © 2013 Fanfare

Bill White
Fanfare, March 2013

VERDI, G.: Giorno di Regno (Un) (Teatro Regio di Parma, 2010) (NTSC) 720208
VERDI, G.: Giorno di Regno (Un) (Teatro Regio di Parma, 2010) (Blu-ray, HD) 720304

Sets are stylish and traditional, costumes in period and finely appointed. Stage Director Pier Luigi Pizzi to his credit pretty much sticks to the story in this seldom seen work…Antonacci sings quite wonderfully, as usual, and even assays Verdi’s coloratura with confident aplomb. Her creamy mezzo voice is always on pitch and she is one of the best actresses on the stage today…tenor Guido Loconsolo also brings plenty of vocal talent to the role of Belfiore and he looks great as well. The Parma house orchestra here under conductor Donato Renzetti, seems quite capable…

Musical highlights include the cleverly written overture, quite reminiscent of Rossini, the virtuoso tenor aria “Pietoso al lungo pianto,” the mezzo soprano aria “Si mostri a chi l’adora,” and the septet, patterned after the septet in La Cenerentola…I would recommend this set even if there were a dozen others out there; I am quite pleased with it. © 2013 Fanfare Read complete review

Robert J Farr
MusicWeb International, February 2013

As is the norm with Pizzi, the sets and costumes are in period and the production straightforward; no gimmicks, concepts or Regietheater! The set, the Breton home of Baron Kelbar, is appropriately grand yet easily flexible to facilitate the quick scene-changes required for the different internal locations and the garden. The costumes of the ladies are superbly colourful. Pizzi also has the facility of staging the various scenes so as to give the singers maximum opportunity to fill their role with an ease that is evident throughout.

Some of the cast look very young, not least Paolo Bordogna as Il Signor La Rocha, who is scheduled to marry the Marchessa. His acting, in voice as well as body, especially when La Rocha tries to get out of his intended marriage is masterful. The duet between him and his host, two buffa basses, is a particular highlight of the opera and of this performance (CH.24). Also enjoyable is their earlier duet (CHs.24-25) with the Kelbar of Andrea Porta well up to the competition in singing and acting. The young lovers, Eduardo and Giuletta di Kelbar, sung by Ivan Magrì and Alessandra Marianelli, are winsome in appearance and act well.

A lot of the vocal and acting demands fall on the shoulders of Guido Loconsolo as Belfiore and Anna Caterina Antonacci as the Marchessa. He is new to me. His acting and singing in this performance, in matters of diction, vocal characterisation and sheer beauty of tone and colour is first rate: CHs.6. 8-11 and in the ensembles and finales. Add his physical stature and stage presence and I can foretell a considerable future in roles in Mozart and Rossini for a start. Anna Caterina Antonacci is well known on the international circuit in a wide variety of roles…As in those performances her portrayal of the Marchessa del Poggio, whether appearing in a cerise outfit, and semi-stripping to take a bath, to the lovely tone she brings throughout is consummate and aided by the committed acting for which she is renowned. Notable is her vocal tone and phrasing, as well as acted portrayal, as the Marchessa manoeuvres the marriage of Giulietta and Eduardo (CHs.21-23) and later keeps Belfiore on a string (CHs.36-38).

With the quality of singing, wonderfully natural sets and elegant costumes, it is with special relief that I note that the conducting of Donato Renzetti and the acting and singing of the chorus are icing on the cake. Renzetti’s scintillating rendition of the overture, with visuals in the form of ballet dancers, sets the tone for the whole of the captivating performance of this rarely staged Verdi opera.

…this performance is unmatchable for photography and sound and is well conducted and sung. © MusicWeb International Read complete review

David J. Baker
Opera News, January 2013

VERDI, G.: Giorno di Regno (Un) (Teatro Regio di Parma, 2010) (NTSC) 720208
VERDI, G.: Giorno di Regno (Un) (Teatro Regio di Parma, 2010) (Blu-ray, HD) 720304

…the Tutto Verdi series [of the Un Giorno di Regno], assembled by the Teatro Regio di Parma and the C Major label, offers an opportunity to enjoy the comedy’s undeniable charms in a filmed live performance.

Pizzi’s principal weapon in this charm offensive…is the seductive Anna Caterina Antonacci as the Marchesa del Poggio…In addition to her vocal supremacy in solos and ensembles, Antonacci has the physical charms, expert timing and secure presence to triumph in a striptease and bathing scene that is both risqué and risky.

…Guido Loconsolo’s handsome Cavaliere di Belfiore…is benevolent and judicious, vocally warm and persuasive in an atypical, lyrical Verdi baritone role. © 2013 Opera News Read complete review

Lawrence Devoe, October 2012

As Verdi’s 200th birth celebration will occur next year, there has been a resurgence of interest in “tut to Verdi,” or all things Verdi. Hence, we now get the release of this 2010 production from Il Teatro Regio di Parma. Fortunately, it is as good a performance as this work probably ever received with a youthful cast whose only familiar name is mezzo-soprano Anna Caterina Antonacci (La Marchesa del Poggio). Not to worry, as the other principals, Guido Loconsolo (Cavaliere di Belfiore), Andrea Porta (Barone di Kelbar), Alessandra Marianelli (Giuletta di Kelbar), and Ivan Magri (Edoardo di Sanval) are good colleagues. The orchestra and chorus receive excellent direction from maestro Donato Renzetti and veteran director, Pier Luigi Pizzi puts on a period staging that supports the action perfectly.

The camera work gives us a very intimate view of the stage proceedings and helps the connection with performers. The leg shots of mezzo Antonacci, still quite a hottie at forty-five, are right out of the Frederick’s of Hollywood’s catalog. The rather stark staging actually is the perfect foil for the singers and the costumes are handsome period numbers.

The DTS-HD Master Audio 5.1 soundtrack is terrific with excellent orchestra-voice balance. The perspective is very close to what one would expect in the opera house and the singers are well served.

When we begin to raid the cupboard of the true operatic giants, there is the risk of finding items that are past their sell by dates or simply inedible. Fortunately, Un Giorno di Regno fits neither description. Opera fans will get a good dose of real bel canto, a style that Verdi eventually abandoned, and some great solo sings. Echoes of Rossini, Donizetti, and Bellini are rampant throughout. The attractive cast is mostly up to the task and with sympathetic musical direction, I am certain that this production far exceeded anything that Verdi encountered at its debut. Further, we get to hear a bunch of young voices that will be gracing the international opera stages for some time to come. A real winner, in all respects. © 2012 Read complete review

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