Riccardo Frizza led the San Francisco Opera Orchestra with a light touch. There were shakes and crashes where the score called for them, but the overall impression was of stately dignity. Donizetti’s score often lets the singers drive the musical drama, and Frizza followed their lead.
Frizza conducted an ideally paced performance, driving the action and illuminating the shifting allegiances, emotions, and sheer brilliance of Donizetti’s score in each new episode.
The conductor is Italian Maestro Riccardo Frizza, whose interest and expertise in Donizetti’s operas has led to his appointment as the first director of a new annual international Donizetti Festival. That festival, which begins this coming Fall, is to be based in the composer’s home town of Bergamo, Italy. Maestro Frizza’s rapport with the artists and with the San Francisco Opera Orchestra was obvious, and resulted in a truly satisfying musical performance.
Riccardo Frizza, conducting, delivered a wonderful reading of the score. He generated a beautiful sound from the Orchestra del Teatro La Fenice, producing colorful shadings and controlled dynamic variations that brought out the dramatic contrasts and highlighted the salient points in the onstage action….Although Frizza achieved a well-balanced sound from the orchestra and the singers, he took the decision to focus on the individual instrumental sections and their dialogue with the singers, which proved to be an interesting and successful choice as it highlighted a subtlety in Donizetti’s score that can so easily be lost. A special mention must also be given to Nabila Chajai, the harpist, who in the Act 1 harp obbligato, produced a sound of exquisite beauty and clarity, a truly rare pleasure in itself!
Riccardo Frizza è il nuovo direttore musicale del Donizetti Opera Festival. Bresciano, 46 anni, è uno dei migliori direttori della sua generazioni, ha diretto al teatro Alla Scala di Milano, alla Fenice di Venezia e al Metropolitan di New York. Frizza è stato presentato alla stampa nella mattina di mercoledì 28 settembre a Palazzo Frizzoni dall’Assessore alla Cultura del Comune di Bergamo, Nadia Ghisalberti, Francesco Micheli, Direttore artistico della Fondazione Donizetti; Paolo Fabbri, Direttore scientifico della Fondazione Donizetti e Massimo Boffelli, Direttore generale della Fondazione Teatro Donizetti.
El director italiano Riccardo Frizza, uno de los más destacados especialistas en el repertorio operístico italiano de la actualidad, regresará al podio de la Opéra National de París (ONP) en enero para dirigir nueve funciones de la obra maestra de Gioachino Rossini, Il Barbiere di Siviglia.
“Después de haber dirigido en la Opéra La Cenerentola, Il Bar-biere y L’Italiana in Algeri –la trilogía bufa de Rossi-ni al completo–, además de Lucia di Lammermoor de Donizetti el curso pasado, estoy muy satisfecho de regresar a este emblemático teatro con esta obra deliciosa. Barbiere está considerada –y con razón– la cumbre de la ópera cómica rossiniana y de todo el género bufo décadas antes del nacimiento del Falstaff verdiano”, afirma Frizza quien se pondrá al mando de una producción que firma el regista Damiano Michieletto contando con un reparto de jóvenes estrellas de la lírica internacional que encabezan la mezzo Olga Kulchynska, los barítonos Massimo Cavalletti y Florian Sempey, y los tenores René Barbera y Levy Sekgapane, todos de consolidada carrera o recientes triunfadores de los más destacados concursos internacionales.
Il maestro italiano dirigerà a gennaio nove recite dell’opera di Rossini nella leggendaria Opéra de Paris.
Il direttore italiano Riccardo Frizza, uno dei più rinomati specialisti del repertorio operistico italiano dell’attualità, tornerà sul podio della Opéra National de Paris (ONP) nel mese di gennaio per dirigere nove recite del capolavoro di Gioachino Rossini, Il Barbiere di Siviglia.
El Festival Donizetti de Bérgamo (Italia), referencia internacional en la interpretación donizettiana, enriquece su estructura con una nueva figura: el director de orquesta de fama internacional Riccardo Frizza. El maestro italiano asume como responsable musical de un certamen único en el mundo dedicado a la investigación y divulgación de la amplia obra del compositor bergamasco, piedra angular del estilo belcantista romántico. El fichaje lo ha anunciado la Concejala de Cultura del Ayuntamiento de Bérgamo, Nadia Ghisalberti, conjuntamente con el director de la Fondazione Teatro Donizetti, Massimo Boffelli, al director artístico de la Fondazione Donizetti, Francesco Micheli, y al director de investigación, Paolo Fabbri. La labor del nuevo director musical se concretizará cuando se presente la programación de la edición 2018 del Festival, en la que también subirá al podio.
Riccardo Frizza is a young Italian conductor whose performances in Europe and the United States are getting rave reviews. He tells us of his love for the operas of Verdi, Bellini, and particularly Donizetti.
Q: Are there any artists or musicians from the past whose work has significantly influenced you?
RF: When I discovered the orchestra as an instrument, I was totally mesmerized and in love with Leonard Bernstein. Several masters of the Italian school, including Claudio Abbado and Riccardo Muti, subsequently influenced me. My most significant teachers were: composer Elisabetta Brusa, who taught me to be able to understand music, and conductor Gilberto Serembe, who taught me the basics and the necessities of conducting technique…Read more here.
Conductor Riccardo Frizza has been named the first and new music director of the Donizetti Opera Festival in Bergamo.
The festival is the only one dedicated to the research and dissemination of the Bergamo born composer´s wide repertoire, a cornerstone of the Romantic bel-canto style.
The new appointment was announced by Bergamo´s councillor for culture, Nadia Ghisalberti, and by the director of the Fondazione Teatro Donizetti, Massimo Boffelli, the artistic director of the Fondazione Donizetti, Francesco Micheli, and the research director, Paolo Fabbri.
Read more here.
With Lyric newcomer Frizza at the helm, no musical gesture was perfunctory, no interpretive decision ill-chosen. The Italian conductor’s marshaling of musical details as they related to dramatic expression — the color and duration of orchestral chording, for instance — was typical of his thorough understanding of Bellini’s score. His seamless pacing and rhythmic exactitude went far toward countering static moments in the staging.
Such was the quality of the orchestra’s responses to Frizza that Bellini’s often-criticized orchestration didn’t feel insipid at all. Director Michael Black’s chorus pitched in with conspicuous enthusiasm.
Being a conductor of opera is no easy endeavor. Conductors are generally taking on multiple operas a year, both new and old ones. They have to learn to work with a wide range of different personalities in ever-changing environments, many over which he has no control.
This places greater emphasis on Frizza to be in top form at all times, especially when taking on new operas or revisiting such major staples as Norma.
Frizza has a background in composition and while music is essential for him, his approach to learning or revisiting ones never starts with the notes on the page.
…the Lyric orchestra, impeccably conducted by Riccardo Frizza, which makes its own beautiful sound, with Bellini’s overture, alone, suggesting the composer’s ability to slip seamlessly from the most delicate, lyrical, “singing” motifs to passages of great fury.
“When you do a Romantic Italian opera—like a Bellini or a Verdi—you need to tell a story. Drama for me is primary. And you have to be able to keep the tension in the story without dropping it. This is up to us—the conductor and the interpreters on stage—to be able to keep the tension even when some pages are not so well done. We can be very reverent to the composer and not cut them, but we also have to be honest. We have miraculous pages, and we also have just good pages. It depends on the interpreter making these pages interesting. It’s a matter of the conductor, the interpreters on stage, and the director as well.”
Rather than grabbing at greatness by attempting to reconfigure masterpieces of Italian opera to conform with today’s tastes, this son of Brescia earns greatness by reminding audiences of composers’ tastes. In a field too often mired in egotism and elitism, Riccardo Frizza is a Rooseveltian conductor who walks softly but wields a baton with big impact.
“That is the instrument I want to play!”
That was the thought that came to young Riccardo Frizza listening to the orchestra on a family visit to Vienna. The man on the podium was Herbert von Karajan. Already a devoted student of piano, Frizza soon took up his orchestral studies seriously, buying and studying scores and eventually progressing with the help of renowned teachers in Milan, Pescara, and Siena.
An important figure in his hometown of Brescia, Italy, Maestro Frizza began his career serving as music director of the symphony orchestra there from 1994 to 2000. During this time he became a popular guest artist at festivals and major Italian opera houses, and from there it did not take long for his career to become international…
Riccardo Frizza worked so thoroughly with [the Orchestra Regionale delle Marche] that he succeeded in involving them in their playing, in ways they must never have experienced before. His strings had bite as well as bark and that is an extraordinary accomplishment for even the finest strings, in the open air. When players are giving more than they thought they could, there may be some blemishes in solo passages (there were!) but these matter little in the all-over musicality. For these reasons alone, the Sferisterio management should sign Frizza up as their chief conductor. The orchestra would thank them.
Frizza is also a considerate conductor with his singers. He understands their problems. And does Verdi ever hand some almost insuperable problems to the lead singers of Otello.
Nonostante la giovane età Frizza è considerato uno dei più apprezzati interpreti del melodramma italiano a livello internazionale.
Riccardo Frizza led a beautiful, empathetic, sensitive reading of the work, perfectly at one with his wonderful cast. It is easy for this score to fall into bathos bathed in schmaltz; Frizza and his singers humanized every aspect, from the high jinks of the first act through the ultimate sadness. Using, but not relying on rubato and portamento, with no exaggeration, the story came across simply and poignantly, and the Met Orchestra gave it the attention it gives to Shostakovich and Wagner.
Riccardo Frizza’s conducting is admirably precise, keeping a nice flow with quick tempi that never undermine the singers’ ability to fit the notes in.
It was left to conductor Riccardo Frizza to elicit the beauties of the score, and he did so at every turn, drawing luxuriant playing from San Francisco’s responsive orchestra and lending sensitive support to DiDonato and Cabell. The singing was the thing in this Capuleti, and Frizza guided his protagonists with consummate flair.
Riccardo Frizza, a real expert on the Italian lyric repertoire and particularly on Verdi’s output, possesses the qualities of the greatest conducting masters: impeccable gesture, an analytical vision that guarantees total fidelity to the original text, and a moving expression that floods all his performances with an overwhelming intensity.
A native of Brescia, a city marked by its industrial background, he inherited from his origins both rigour and precision, qualities which produce an explosive combination when mixed with his Italian soul.
…This was a production that depended on a solid account of the music. Conductor Riccardo Frizza, whose previous visit to the War Memorial Opera House was for Gaetano Donizetti’s Lucrezia Borgia, made it clear from the opening measures that he was just the maestro to provide such an account…
If Bellini’s score is far from the most compelling, Frizza summoned up a performance that highlighted the virtues while letting the weaknesses just run their course. Most importantly, he showed considerable sensitivity to Bellini’s inventive approaches to instrumentation, always finding the right balance points, not only among the orchestra instruments but also when adding the vocalists to the mix.
Frizza (1971) is at the forefront of the latest generation of Italian conductors, following in the footsteps of a tradition that includes Arturo Toscanini and contemporary legends as Carlo Maria Giulini and Riccardo Muti. He was raised in the land of opera…
Many conductors try their hand at bel canto, but few deliver the extremely pliable tempos, understanding of nuance, and way with light and shade that Riccardo Frizza brought to the score. Showing supreme respect for his artists, Frizza molded Bellini’s vocal line to the extent his singers allowed, lingering over notes and phrases without once becoming mannered. The man clearly loves bel canto writing, and understands its ultimate potential. Bravo!
Riccardo Frizza’s conducting exactly matches Cabell and DiDonato’s marvelous singing. He phrases exquisitely, never distorting or distending the line, but able to stretch it in a most expressive and dramatic fashion.
The musical direction of Riccardo Frizza was one of the most pleasant surprises of the evening. […] He was totally convincing, conducting his forces with both strength and gentleness, always supporting the singers and getting a fine results from his orchestra
Conductor Riccardo Frizza led with precision and energy and a refreshing straightforwardness—none of the self-consciously droopy tempos many other maestros favor in works of this period. Indeed, he and Michele Mariotti…are about the best in the world at this repertoire. The Met is lucky to have both on its roster.
Among his operas, what do you think is most special about Verdi’s Falstaff? Is there any particular challenge in conducting a comedy?
In my opinion Falstaff is a special opera, especially because it is the genius Verdi’s last opera. Also, having been written so many years after his preceding opera (Otello), it can also be considered as his final testament. With it, Verdi revolutionised Italian melodrama. By magnifying the “dramma” and vicissitudes of mystic characters, he addressed the problematic political situation of an Italy in the process of formation, and he finally decided to end his career with a comic libretto. The greatest challenge in conducting Falstaff is letting all the details in the score emerge. Conducting a comic opera is very different from conducting a serious opera, as you have to feel the rhythm of the comedy, which can be quite complicated at times.
…Frizza’s skill was on display as the tone and flow of the orchestra balanced the tempestuous relationship of Marcello and Musetta in counterpoint to that of Mimi and Rodolfo. Frizza evokes the bittersweet and eternal nature of Rodolfo’s and Mimiʼs love one moment and in the next we return our attention to the temporal nature of the affection of Marcello and Mimi.
In the pit Riccardo Frizza gave an elegant, detailed reading of the score that lacked for nothing in terms of drama and passion, but impressed equally in the quieter, more melancholic passages. He accompanied his singers with precision, while at the same time stamping his authority on the overall musical structure of the performance. Like everything else going on onstage, it was a refined reading.