Lady willpower

I suspect she was irresistible, like a captivating runaway carriage. When she wanted something, she would engage you and persuade you until you conceded that she deserved whatever she had set her sights on. And she aimed for the nearly all-male realm of bel canto accolades.

Writing and performing songs, along with piano variations on popular tunes of the day, at the most fashionable salons in Florence? She accomplished that by the age of 17 in 1827. Marrying a renowned surgeon and using his connections to meet everyone she wanted? Completed before she was 20. Publishing her compositions? Not an issue. Having leading singers of the time perform her works at the finest gatherings in Italy? She made it happen.

Her next ambition was to compose an opera—not just the music but also the orchestration. She invited Rossini and the esteemed Giovanni Simone Mayr to attend, securing their praise and ensuring their letters of commendation were widely noticed. (Unfortunately, her first opera, Samson, has been lost.)

As a widow with a daughter to care for (and perform duets with), she moved to Naples, a city where she knew no one. There, she managed to stage a grand opera she had composed on trendy Scottish themes. (Meyerbeer had already used the libretto. In those days, libretti were often reused before copyright laws existed.) When the libretto fell short, she wrote new scenes herself. She was truly a master of many skills.

For fans of bel canto, Anna di Resburgo is an exciting discovery, even if it doesn’t have a long-lasting presence. Uccelli’s unique, somewhat unrefined style is exactly what Crutchfield values. He has revived Anna di Resburgo from obscurity, lamenting as Poe’s Roderick Usher did, “We have put her living into the tomb!” (Poe himself was a fan of bel canto opera, as one might guess.)

As expected from Teatro Nuovo enthusiasts, the Maestro delivered a pre-performance talk last Wednesday, highlighting the score’s marvels: the varied bass lines, the unconventional funeral march, and the dramatic duet between the self-righteous soprano (with flute accompaniment) and the remorseful baritone (with a snare drum obbligato—a novel idea for both Crutchfield and myself). The auditorium was packed for this insightful discussion.

The talk was preceded by a programme of eight of Uccelli’s salon songs, performed by nine of Crutchfield’s talented young pupils. These songs, set to Uccelli’s own lyrics, are sophisticated and charming, whether sentimental or playful, and they hold their own alongside the works of Rossini, Bellini, or Mercadante.

Following this, the Rose Theater hosted the New York premiere of Anna di Resburgo (which had its U.S. premiere in Montclair the previous weekend). The production featured projected sets, minimal staging, an orchestra with original instruments, and Elisa Citterio conducting with her violin, as was customary in orchestras of the era.

Edemondo’s trial for parricide occurs off stage, described by Olfredo in patter typically used by buffos. Uccelli, however, chose to set this narration to serious, agitated music, which, while unconventional, highlights her inventive theatrical approach. This choice made sense given that a local buffo star, well-versed in comic patter, was performing Olfredo’s role, and opera buffa originated in Naples. Using a comic style for tragic content demonstrates Uccelli’s original theatrical vision.

Chelsea Lehnea, who previously performed Paolina in Teatro Nuovo’s Poliuto, portrayed Anna with a robust soprano. However, her voice struggled with the ideal bel canto smoothness required for the role’s extensive range. Her coloratura was uneven, and transitions between different vocal registers sometimes exposed weak spots. She might fare better with mid-range Verdi roles that focus on a more consistent tessitura, with only occasional coloratura demands. Despite this, Lehnea effectively conveyed Anna’s dramatic stress and reckless defiance. Elisse Albian, as Etelia, sang her lines with charm and elegance.

Argentine tenor Santiago Ballerini, a favourite of Crutchfield, played Edemondo with a smooth line and appealing ornaments. He seemed to avoid a final high note, though this did not diminish his strong reception. The role, however, lacks dramatic depth, and Uccelli did not find a compelling way to develop it. A solitary prison scene filled with self-recrimination might have added more dramatic weight.

Riccardo José Rivera, a Puerto Rican baritone, delivered the most compelling performance in Anna di Resburgo as the guilt-ridden Norcesto. His dark, rich sound was perfect for the role, earning him the evening’s loudest applause. Rivera’s musical skill and dramatic prowess captivated the audience during his extended solo scenes and matched Lehnea’s intensity during their dramatic duet. His expertise in Donizetti and Verdi roles complements his fine, Renato Bruson-like line.

Lucas Levy, in the buffo role of Olfredo, brought a graceful basso to the stage. His patter narration was well-articulated, and his voice was powerful enough to fill the theatre, though he sometimes had to temper it. It will be intriguing to see what he can achieve in the major Lablache roles in the future. (Lehnea, Ballerini, Rivera, and Levy would make a remarkable cast for Puritani, if any impresarios are considering it. A Puritani with such a quartet is rare.)

Andrew Allan Hiers portrayed Norcesto’s unpleasant a.d.c. with a tuneful edge, adding a distinctive note to the performance.

Teatro Nuovo consistently features talented singers in lesser-known works, and this production of Anna di Resburgo was a prime example of that commitment. As the summer approaches, the anticipation for Crutchfield’s future projects is always high. Although Anna di Resburgo was a refreshing and enjoyable experience, it’s unclear if we’ll hear it again soon.

Photos: Steven Pisano