CAVALLERIA RUSTICANA / PAGLIACCI | Bayerische Staatsoper

A new CavPag production always comes with its share of expectations, given that this unique pairing of two verismo masterpieces consistently sparks a wide range of passionate and varied interpretations. So similar yet so contrasting, these two operatic moments—sometimes combined, sometimes set against each other—rarely leave audiences indifferent. Francesco Micheli’s new staging at the Bayerische Staatsoper is no exception. Backed by a stellar vocal lineup, this back-and-forth between Palermo and Munich captivates: while the deliberately static Cavalleria—reinforced by a somewhat rigid monochrome aesthetic—may occasionally feel heavy, the vibrant colors and lush direction of Pagliacci provide a refreshing counterbalance. Through this original and coherent vision, the audience is swept away by a night of fire and ice, masterfully led by a truly incandescent Daniele Rustioni.

Yulia Matochkina delivered a Santuzza of measured intensity, her rich and dark voice conveying restrained pain without excess. Ivan Gyngazov, as Turiddu, impressed with a solid projection and clear diction, underpinned by a powerful and resonant instrument. Undoubtedly the evening’s discovery, we eagerly await to see him grace the world’s major stages in leading spinto and lyric roles. Rosalind Plowright’s portrayal of the dying Lucia brought the necessary maturity to the cast, her beautiful voice bearing the weight of years with expressive depth. Wolfgang Koch, in the roles of Alfio and Tonio, displayed his usual remarkable vocal and dramatic power, moving effortlessly from contained jealousy to vengeful darkness. Ekaterine Buachidze’s Lola was sharp and piquant, her clear and well-projected timbre standing out.

As charming as she was playful, Ailyn Pérez crafted a Nedda both sensitive and assured, far from clichés. Her voice, supple and luminous, blossomed effortlessly in the high register without losing clarity or precision. She sang with elegant simplicity, avoiding excess, which made her character all the more touching. Whether in intimate moments or tense confrontations, her stage presence remained natural, expressive, and never forced. Making his role debut, Riccardo Massi’s Canio was convincingly tormented. Thomas Mole, a company member, was given the chance to showcase his vocal qualities more fully through Silvio than in the usual smaller parts he often performs—and to our delight. His warm, refined voice and impeccable line point to a promising future. Andrés Agudelo brought a welcome lightness to Peppe, with a frank timbre and strong stage sense.

Once again, the orchestra’s rich tonal palette—decidedly versatile—enchanted us, and as we left the theater, there was only one thing on our minds: to return as soon as possible.