藤原歌劇団のルチア - Lucia di Lammermoor

今日は友人から招待のご相伴にあずかってドニゼッティを観に出かけた。会場は新百合ヶ丘の昭和音楽大学。この大学のホールも初めてなら、日本人演奏によるオペラ鑑賞も実は初めてだ。でも大きな収穫だったのはエドガルド役のテノール小山陽二郞だ。ドラマチックな緊張感を放つ彼の歌唱表現は抜きん出ていて、美しく明瞭な声質と知性的なくらい正確な技術に、僕としては非の打ち所がないと感じた。ルチア役の光岡暁恵も第1幕はやや制御が外れる箇所も若干あったが、狂乱の場をしっかりこなして大きな喝采を受けていた。ルチアはマリア・カラスという金字塔もあるけど、歌い手には絶対おいしい役だからね。
ところで会場の昭和音大テアトロ・ジーリオはすごくドライな音響だった。そのせいかオケの音もかなり近い聞こえ方だ。太鼓の太い低音が良く響いていた。難点としては音量が上がった時、前方両端のコーナーに音が集まってそこにいろんな楽器が定位して聞こえていたこと。スピーカーでPA補強でもあるのかしらと思ったほどだ。建物の写真を撮ったが、なぜかパソコンで確認すると画像データが壊れていたので、館内のショットを大学のサイトから借用します。


As an invited guest, my friend asked me if I was interested in accompanying him for Donizetti’s opera, and I went to Teatro Giglio of Showa Music Academy in Shin-Yurigaoka. It was my first visit to this hall and to an Italian opera performed by Japanese artists. The unexpected fruit was the remarkable tenor, Yojiro Oyama as the role of Edgardo. He definitely stood out among the soloists with highly dramatic tension on top of his lyrical and clear character of the voice and intelligently controlled singing skill, which made me think nothing needed to be added. Ms. Akie Mitsuoka as Lucia went off the keys just occasionally in Act I, but the mad scene was quite dependable and received huge applause. When it comes to Lucia, legendary is Maria Callas, but the title role is always tempting for the singers indeed.
The acoustic of Teatro Giglio was very, very dry. The orchestra or the stage did not sound distant probably because of this acoustic property. The drum beats were wonderfully deep, but the drawback of this hall was that some sound localized on the corner of front left and right ends especially in loud passages, and it even made me wonder if they had buried some speakers there for sound reinforcement.