The soprano Elena Moşuc has been re-invited to the Milan Scala for the third time in the past five years, this time in the role of the Luisa Miller opera by Verdi, an opus rarely performed due to the vocal difficulties with the interpretation that requires high-class distributions. For Elena Mosuc, a renown soprano with ample lyric capabilities, the role of Luisa-whose part concludes the period of her early Verdi years-fits like a glove, given that the complex vocality of the soprano gives her unlimited expressive possibilities. The aria sounded amazing in the first act, while the second sounded passionate and incisive and acutely brilliant with dramatic charges of articulate sounds.

Shortly before the finale of the first act, the soprano's voice had dominated the ensembles. For Elena Mosuc, cantilenas are occasions to deliver soft and fluid melodic lines, with emotional and poignant hues. The queen of subtle pianissimos to the limits of audibility, the artist takes advantage of every chance to highlight them in an expressive context with the mezzo-voce chant. As an actress, Elena Mosuc has proven once again to be impressive, with a maximally intense scene presence.

..and others

Marcelo Alvarez was an expansive Rodolfo, but only a one act. A mere hoarse throat appeared on a high sentence, was the alarming trigger for the tenor, who thought it was for the best not to overdo his voice. He was replaced by Piero Pretti, a nice surprise. The spinto lyrical voice sank perfectly in the role and the Italian sang powerfully and brightly. If anything went amiss, except for the timbre luxury of Alvatrez, was precisely the passionate commitment of the Argentinian.

In the role of Miller, septuagenarian Leo Nucci, a glory of Italian lyricism, one of the greatest Verdian baritones of all time, who feels the phrase and the accent within the portatives, who maintains his projections and the authority of his song, and who unfolds the melodic design with a fluidity motivated only by suzerain technique, upheld by a perfect breathing.

The mezzosoprano Daniela Barcellona was the duchess Federica and sang with a piercing sound and impeccable phrasing. Two sumptuous voices of bass were very well distributed in the role of count Walter, with a warm and smooth timbre - Vitali Kovaliov and the perfide Wurm, a dark and severe voice, Kwangchul Youn.

About the conductor and the production

At the desk, the turbulent Gianandrea Noseda valued temperamentally as well as gently the great potential of the Scala Theatre Orchestra and the concert flowed with a dynamism filled with coherence. The montage of Mario Martone's absolutely modern. The story can take place even today, and the costumes of Ursula Patzak were a testament to this. The great merit of the queen is that it made possible the unhindered progress of an exceptional music concert, featuring great voices and a memorable singing performance, fit for a theatre like the Milan Scala, which is often unjustly reviewed by critics who contest its quality.