BWW Reviews: What a Difference a Cast Makes, with Damrau and Camarena, in LA SONNAMBULA at the Met

It's always reassuring when a change of cast--in this case, German soprano Diana Damrau and Mexican tenor Javier Camarena in wonderful performances--transforms a truly terrible production into an exciting night at the opera. But that's exactly what happened with the revival of Bellini's LA SONNAMBULA at the Met last week.

Not that there was anything wrong with the production's opening night cast two seasons ago, at least on paper, when Natalie Dessay and Juan Diego Florez headed the bill. On stage, however, only the production's flaws came across--an opera-within-an-opera, with the cast each playing two roles (in the work itself and as performers rehearsing it). Maybe director Mary Zimmerman had a cogent approach in mind but I doubt it, considering that she needed two pages in the Playbill to explain what was going on. And it still made no sense. The result: Audiences and critics detested it.

Damrau in her glory

But enough about the production, because it faded into memory in the hands of these artists so involved with the music and, undoubtedly, with some help from the Met's directing staff. Damrau was in her glory in her role debut as Amina, the sleepwalker of the title. She sounded at the top of her form and brought great panache--not to mention pinpoint accurate coloratura--to the role, one of the hallmarks of bel canto. Her final aria, "Ah! non credea mirarti," and its cabaletta "Ah! Non giunge," showed off her technique and command of the music.

What more can I say, except that she's a truly stellar performer, and a game one as well--whether entering down the aisle of the orchestra barefoot for her first sleepwalking scene or turning cartwheels during the finale. Obviously, this is not the only way to perform the role--Maria Callas and Joan Sutherland made specialties of the role in very different ways--but I'd gladly hear her again.

Accurate singing, elegant high notes

Where has tenor Camarena been hiding? (Translated: Why has the Met taken so long to re-engage him?) He made his notable debut at the Met a couple of years back as Almaviva in Rossini's IL BARBIERE DI SIVIGLIA but it has taken three years to come back.

The role of Elvino doesn't offer the same opportunities to show off his stage presence as in FIGARO--frankly, he's kind of a lunkhead here. But Camarena made up for the dullness of the character with bold and meticulous singing, elegant high notes, and a voice that has more body to it than generally associated with this type of role. The tenor's "Prendi l'annel ti dono" was a pleasure for the ears and his pairings with Damrau were delicious. I hope to hear him again before long.

The lush and charming score

The two other main roles were sung by American soprano Rachelle Durin (Lisa) and Italian bass Michele Pertusi as Count Rodolfo. Durin's voice is a little more acidic than I prefer, but she had fun as the piece's (mild) villain and cut a lively figure, lusting after Elvino and doing her best to try and break up the once-happy couple. While Pertusi was elegant as the Count--who ends up with a surprise visit from the sleepwalking Amina, but doesn't stay to take advantage of it--his voice seemed a bit frayed. American mezzo Elizabeth Bishop was solid in the smaller role of Teresa, Amina's mother.

Conductor Marco Armiliato and the Met orchestra were able foils for the singers, including the lively Met chorus, enabling them to make the most of the lush and charming Bellini score. It was good to have SONNAMBULA back--something I never thought I'd say about this production.

###

Photo: Diana Damrau as Amina, Javier Camarena as Elvino
Photo by Marty Sohl/Metropolitan Opera

To post a comment, you must register and login.