To me, while Luisa Miller is not one of Verdi's greatest(like La Traviata, Don Carlo, Otello, Rigoletto and Aida) it is easily along with Macbeth one of Verdi's better early operas and is deserving of more credit. The DVD competition is not large, but is solid in that all five of the performances are worth watching. This 2007 production from Teatro Reggio Di Parma is second only to the 1979 Met production. And there is little to fault, for my tastes though Giorgio Surjan's singing as Count Walther sounded both fatigued and wobbly. The production values, even updated to late 19th century, were really attractive with warm, suitably rustic colours and simple costumes that made the class difference distinct without being too obvious. The video directing and picture quality do nothing to spoil that. Denis Krief deserves a huge amount of credit for his work here. He has done staging touches that I've not cared for before, but nothing questionable comes across here. In this production everything from the story to the characters' motivations are very well explored and most of all make sense.
From a musical point of view, Parma's Luisa Miller is outstanding. The crisp sound quality helps, but the quality of the singing and playing is really something. The orchestra give their all, they play like angels and are fully engrossed in the drama. The chorus are also impressive, they act with vitality and there are no complaints either about their sound and how they blend with one another. The end of Act 1 is a showstopper in every sense. Donato Renzetti's conducting is flexible and sympathetic, with a great sense of musicianship and any technicalities. The principals are right on the money. Surjan is not in the best vocal shape, but his authority and coldness for Count Walther is spot on. Katarina Nikolic shines as Laura, and Francesca Franci's Federica is likewise perfect. Goes to show that you can make the most of small roles. Rafal Siwek is evil incarnate as Wurm, and sings resonantly and expressively, maybe not the most attractive of tones but for a role that had shadows of Otello's Iago in characterisation it's not inappropriate really.
Leo Nucci is superb as Miller, and I have to say what the production does with this character is a revelation. You feel for Miller at whatever action he does or what emotion he's feeling, you get the sense that he is a retired soldier with clear values and that he loves his daughter. Nucci captures these traits brilliantly(on DVD for me only Sherrill Milnes has characterised this role even better). And he also sounds great at 65, his voice has nice varied colours, it's remarkably fresh and his top easy-sounding. Marcelo Alvarez has a beautiful voice, especially in the middle but the top still sounds bright and strong, that is matched by stylish phrasing and affecting expressiveness. Dramatically this is the best I've seen him, I've not always rated him highly in this regard but he is very committed in a performance that is in measures infectious, hair-raising and heartfelt. Fiorenza Cedolins may not sound quite lyric enough for Luisa, but when you hear her rich voice that has the ability to be beautiful and metallic and how she manages the articulation and legato there is much to like vocally. Her dramatic interpretation is very vivid as well, youthful and full of life to begin with, then in Act 2 where she's imploring and fearful and finally heart-breaking in the goose bump-inducing final scene.
Overall, a truly fine production with little, if anything properly, to dislike about it. 9/10 Bethany Cox
From a musical point of view, Parma's Luisa Miller is outstanding. The crisp sound quality helps, but the quality of the singing and playing is really something. The orchestra give their all, they play like angels and are fully engrossed in the drama. The chorus are also impressive, they act with vitality and there are no complaints either about their sound and how they blend with one another. The end of Act 1 is a showstopper in every sense. Donato Renzetti's conducting is flexible and sympathetic, with a great sense of musicianship and any technicalities. The principals are right on the money. Surjan is not in the best vocal shape, but his authority and coldness for Count Walther is spot on. Katarina Nikolic shines as Laura, and Francesca Franci's Federica is likewise perfect. Goes to show that you can make the most of small roles. Rafal Siwek is evil incarnate as Wurm, and sings resonantly and expressively, maybe not the most attractive of tones but for a role that had shadows of Otello's Iago in characterisation it's not inappropriate really.
Leo Nucci is superb as Miller, and I have to say what the production does with this character is a revelation. You feel for Miller at whatever action he does or what emotion he's feeling, you get the sense that he is a retired soldier with clear values and that he loves his daughter. Nucci captures these traits brilliantly(on DVD for me only Sherrill Milnes has characterised this role even better). And he also sounds great at 65, his voice has nice varied colours, it's remarkably fresh and his top easy-sounding. Marcelo Alvarez has a beautiful voice, especially in the middle but the top still sounds bright and strong, that is matched by stylish phrasing and affecting expressiveness. Dramatically this is the best I've seen him, I've not always rated him highly in this regard but he is very committed in a performance that is in measures infectious, hair-raising and heartfelt. Fiorenza Cedolins may not sound quite lyric enough for Luisa, but when you hear her rich voice that has the ability to be beautiful and metallic and how she manages the articulation and legato there is much to like vocally. Her dramatic interpretation is very vivid as well, youthful and full of life to begin with, then in Act 2 where she's imploring and fearful and finally heart-breaking in the goose bump-inducing final scene.
Overall, a truly fine production with little, if anything properly, to dislike about it. 9/10 Bethany Cox
