Bianca e Falliero (Bianca and Falliero)

The plot of this opera centers on Bianca, who loves Falliero, a heroic young general believed to have died in battle defending Venice. Her father, the powerful aristocrat Contareno, arranges her marriage to Capellio to settle a long-standing feud between rival clans. Contareno, cruel and domineering, dismisses Falliero due to his poverty and forces Bianca into a marriage contract, which she refuses to sign. Falliero interrupts the ceremony but is pursued by Contareno’s men. He escapes to the Spanish embassy, where he is discovered and imprisoned for treason. His judges, including Contareno and Capellio, form the Council of Three. Bianca passionately pleads for Falliero’s life. Contareno demands the death penalty, but Capellio, realizing the couple’s bond, shows mercy.

The music in Bianca and Falliero is exceptional, with highlights such as Bianca’s Act I cavatina “Della rosa il bel vermiglio,” the Act I finale quartet, and the trial scene quartet “Cielo il mio labbro ispira.” Themes from the finale reappear in La Donna del Lago. The opera is extremely challenging vocally, with the primary demands placed on Bianca, Falliero, and Contareno. Some argue the opera might have been more balanced had Rossini given Capellio a larger role. Interestingly, the Act I finale bears some resemblance to music later used by Donizetti in Lucia di Lammermoor. The score includes long arias, stunning duets, and intricate quartets.

The staging is simple, featuring large, movable red blocks that allow characters to overlook the action. The setting appears to be the 1930s, with black-and-white video projections showing war-torn cities. An old woman with a cane follows Bianca throughout, though her presence is unclear in meaning.

Despite the somewhat underwhelming production, the strength of Bianca e Falliero lies in its three lead soloists, as the music is notoriously difficult. Pratt, Wakizono, and Korchak all deliver remarkable performances.

Anglo-Australian soprano Jessica Pratt, in the role of Bianca, gives a tour de force performance. Her voice is thrilling, with delicate phrasing, an expansive vocal range, and extraordinary agility in the demanding coloratura passages. Pratt makes the challenging rondo finale “Teco io resto” look effortless, even performing parts of the cabaletta while lying on her side, executing flawless glissandi, pianissimi fil di voce, and rapid coloratura, finishing with a brilliant high Eb.

Japanese mezzo Aya Wakizono, as Falliero, impresses with her thrilling high notes and beautiful middle register, though her voice leans more towards that of a soprano. While her lower register lacks the richness of Daniella Barcellona, who performed the role in 2005, Wakizono is convincing as the young male travesti character. Her top notes sparkle, and she handles the challenging coloratura with finesse. The duets between Bianca and Falliero highlight their beauty of tone and breath control, though a richer lower register from Wakizono would provide greater contrast.

Russian tenor Dmitry Korchak, as Contareno, effortlessly handles one of Rossini’s most demanding tenor roles. His solid technique, rapid coloratura, delicate timbre, and soaring high notes stand out. His portrayal of the menacing Contareno, pacing the stage like a lion, is chilling.

Georgian bass Giorgi Manoshvili, as Capellio, delivers a rich and sonorous performance, though his role is unfortunately small and lacks an aria. He shines in the quartets, leaving one wishing for more.

The supporting cast is also excellent. Bianca was broadcast live on RAI and is available on YouTube for you to experience and judge for yourself.