Teatro della Grancia

Saturday, August 27, 2016, h 19.00

Bass Andrea Mastroni

Piano Gianni Fabbrini

Gioachino Rossini

L'italiana in Algeri

"Già d'insolito ardore nel petto"

Jacques-Fromental Halévy

La juive

“Si la rigueur et la vengeance”

Georg Friedrich Händel

Orlando

"Sorge infausta una procella"

Wolfgang Amadeus Mozart

Marsch für Konstanze in C major K. 408

Wolfgang Amadeus Mozart

Die Entführung aus dem Serail

"O' wie will ich triumphieren"

Giuseppe Verdi

Simon Boccanegra

“A te l'estremo addio... Il lacerato spirito”

Charles Gounod / Émile Périer

Ouverture et Ronde de Méphistophélès après Faust

Arrigo Boito

Mefistofele

"Son lo spirto che nega"

Giuseppe Verdi

Don Carlo

“Elle ne m'aime pas”

Opera is full of demons. Some are actual personifications of sheer Evil: Mephistopheles, obviously. Others are bloody tyrants, like Philip II in Don Carlo; still others, persecutors: Cardinal Brogni in La Juive, or Jacopo Fiesco in Simon Boccanegra. Then there are the sorcerers, for example Zoroastro in Orlando. Finally, the poor devils, wicked but amusing, sometimes even charming: the Bey Mustafà in L’Italiana in Algeri, the keeper of the harem Osmin in Die Entführung aus dem Serail. The common denominator of these characters is their timbre: that of the bass, sombre, dark, deep. The voice of the devil.
It is to these characteristics that the instrument of Andrea Mastroni is perfectly suited. One of the finest basses of the new generation, he is able to tackle the most demanding coloratura, sinking ominously into the depths of those notes below the stave. His is a vocalism, genuinely rare and particular. Accompanying him at the piano, audiences at Solo Belcanto will again encounter Gianni Fabbrini, that most excellent musician, and a constant presence at the Festival from the first.