Skip to content

Dallapiccola and Puccini at the Teatro Real (The Wall Street Journal)

MADRID—A tantalizing double-bill at the Teatro Real, pairing Luigi Dallapiccola’s “Il Prigioniero” with Puccini’s “Suor Angelica,” is a diptych portrait of resistance.

A nameless prisoner of the Inquisition in 16th-century Spain reels when his torturer calls him “brother,” thus dangling the hope of human connection in a world shorn of fellow feeling. “To hear a human voice at last in this place where all is silence,” the prisoner wails, in a chromatic stammer streaked with lyricism . . .

Suor Angelica is in a prison of her own, stuck in a convent after having a child out of wedlock. Played by dazzling soprano Veronika Dzhioeva, she is sustained by the brewing hope that her child is alive and well. Her reproachful aunt, sung with piercing reserve by Deborah Polaski, ultimately informs her otherwise. Suor Angelica’s ensuing “Senza Mama” aria is a tortured lament. But its whirling melodic anguish suggests a triumph of feeling over soul-deadening pain.

Keep Reading:

No comments yet

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

%d bloggers like this: