A pretty great production . . . [Machaidze's performance of the Act Two "Mad Scene"] may pierce and shake you, as well as creep you out. The scene is well- staged and darkly lit, and she sings "Qui la voce sua soave" with heart-splitting pathos. Director Andrea Bevilacqua leads her well, as she wanders distractedly around the stage entreating the thin air, watched in horror by her uncle Giorgio and former suitor Ricardo. The sudden tempo changes reflecting her madness is musically exhilarating and dramatically terrifying . . . As conductor, Michele Mariotti does a sterling job of shuttling the action along, both through his zesty intros to all three acts and through his transparent accompaniment . . . There are other compelling moments in this performance, like Giorgio and Ricardo's duet about the wisdom of putting Elvira's Cavalier lover to death, concluded by the stirring "Liberty Duet" ("Suoni la tromba"). Both will seize your attention. The "finale" with the Puritan chorus confronting Elvira and Arturo (and ultimately pardoning them) is initially suspenseful, and finally cathartic.

Dans cette production italienne de Bologne, la direction vive et affûtée . . . du jeune maestro Michele Mariotti, dans une réalisation télévisuelle plutôt inventive, dévoile ses arguments. Sur le plan vocal, la jeune Nino Machaidze se distingue par la douceur de son timbre angélique; le jeune baryton Gabrielle Viviani fait un beau Riccardo, mais la star mémorable demeure le ténor miraculeux Juan Diego Florez : son Arturo incarne aujourd'hui la perfection du chant bellinien. Un bel canto au legato souverain, à la diction parfaite, à l'intonation ciselée, à l'art des nuances superlatif.

Dans cette production italienne de Bologne, la direction vive et affûtée . . . du jeune maestro Michele Mariotti, dans une réalisation télévisuelle plutôt inventive, dévoile ses arguments. De son côté, Juan Diego Flórez est tout simplement divin. Le plus grand bellinien actuel.