| . | 01/24/2003
La Forza del Destino, Collegiate Chorale
By: Bruce-Michael Gelbert
 
photo by Nana Watanobe
Maria Guleghina Salvatore Licitra
For its mid-season offering, on January 23, the Collegiate Chorale and guest soloists, assisted by the Orchestra of St. Luke's, under Robert Bass' baton, presented a full-throated concert performance of Giuseppe Verdi's sprawling epic "La Forza del Destino" at Carnegie Hall. Bass began the evening with a rousing account of the ominous overture, a frequent component of symphony concerts. "Forza" takes us from castle to inn, from cloister to battlefield. Portraying students, monks, soldiers, beggars and camp followers, Chorale members made contributions that were full-bodied or ethereal, as needed, to the second act prayers, joined hawkish gypsy Preziosilla (high mezzo-soprano Marianne Cornetti) in spirited paeans to war, and sang a subtle nocturne ("Compagni, sostiamo") in Act Three.
Of foremost interest among the soloists' efforts was the Carnegie debut of Salvatore Licitra, as Don Alvaro. Licitra came to local operaphiles' attention last May when he replaced Luciano Pavarotti in a "Tosca" that was to have served as the veteran tenor's Metropolitan Opera farewell. Licitra displayed an undeniably exciting dramatic vocal instrument here in an entrance duet with Maria Guleghina, as Leonora, sung with abandon; in his emotional outpouring "O tu che in seno agli angeli;" and in smoldering, snarling vengeance duets "Sleale!" and "Invano Alvaro" with Mark Rucker, as Don Carlo. He employed little dynamic variation, however, singing almost entirely at full throttle, which makes one wonder if he will be able to sustain this unremitting force over the course of many years of a career. It may be telling that the final note of his third act vow to enter a monastery, following the "Sleale!" duet, almost got away from him.
Soprano Guleghina, who has been singing heavy roles for sometime, proved most at home in the grand statements of "Madre, pietosa Vergine" and the opening and scorching closing of "Pace, pace, mio Dio!" The latter aria's quiet middle section ("Invan la pace") and the reverent "La Vergine degli angeli" found her tone less focused and pitch uncertain.
Baritone Rucker, as Leonora's brother and Alvaro's sworn enemy, made a fine first impression with a vibrant and biting entrance monologue, "Son Pereda, son ricco d'onore," in the inn scene. He confirmed it by proffering a commanding third act scena, bringing resonance, sensitivity and flexibility to the cavatina "Urna fatale" and urgency to the recitatives and the cabaletta "Ah, egli č salvo!"
Simon Estes made a resonant Padre Guardiano, but did not always adhere to the pace established by Bass. Paul Plishka offered a droll, scolding Fra Melitone. Their fourth act duet was omitted, as were some passages in the inn and battle scenes. Kevin Burdette, Marion Capriotti, Jonathan Welch and Philip Horst were the other soloists.
The performance was preceded by a visit with beloved soprano Martina Arroyo, who regaled the audience with reminiscences of singing Leonora and other roles at the Met and elsewhere.
The Collegiate Chorale will return to Carnegie Hall on May 21 for Hector Berlioz's "Requiem."
Carnegie Hall
57th Street & 7th Avenue
Tickets $15-100 917/322-2140 or http://www.collegiatechorale.org
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