I VESPRI SICILIANI
Massenet "Don Quichotte " Ferruccio Furlanetto, Andrey Serov. Mariinsky Theater
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Ferruccio Furlanetto sings Winterreise. Gute Nacht. Piano - Igor Tchetuev
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Don Quichotte… next
Toronto awaits Ferruccio Furlanetto
Published April, 14 2014
Ferruccio Furlanetto will debut soon with his signature part on the stage of Canadian Opera Company in Toronto. General Director Neef comments in The Star:
Because it is a star vehicle, it is only done when an extraordinary performer is available, says Neef. “It was written for the most important bass of the time. You don’t do Don Quichotte without an exceptional performer who can inhabit the part.”
And what is also interesting Ferruccio Furlanetto will be riding a real horse on stage while singing for the first time in his life. The name of the horse is Gold and it will meet her renowned rider soon.
Ferruccio Furlanetto also gave an interview to the Zoomer Magazine, which you can also read online.
“I believe that it helps when you are mature, brings another kind of approach. When you have longer life experience, you can filter amazing emotions.
Don Quichotte opens on May 9. Conductor - Johannes Debus, director – Linda Brovsky. In the cast Quinn Kelsey as Sanco and Ekaterina Gubanova as Dulcinee.
San Diego: Last Fight with the Windmills
Will it be the company swan song?
Published April, 12 2014
Only last performance of Don Quixote is left on April 13. Will it be the company swan song? If San Diego Opera does end up closing with “Don Quixote,” it will be a poetic end to the company's journey. But the real goal is to save this “magic island” of great art to the opera fans and young people who are just starting with their approach to the opera. Check U-T photo gallery of the Don Quixote’s general rehearsal with hundreds of students attending it.
Great performance of Ferruccio Furlanetto fighting windmills, inspiring also people of San Diego to fight for one of their city most valuable institutions. More press are coming.
But the evening belonged to Feruccio Furlanetto, the towering bass who has mastered the look, the feel, the stature and of course, the rich, glorious voice of The Knight of the Woeful Countenance. Furlanetto is a San Diego favorite, who successfully assayed this role in 2009 (the opera was first performed locally in 1969).(Times of San Diego)
Ferruccio Furlanetto, the sterling Italian bass, plays the title role with aplomb. He inhabits the persona of noble knight errant as if reincarnated from the character introduced by Cervantes in his 1615 novel. (Entertaiment Today)
Following the lead of bass superstars from the great Russian Fyodor Chaliapin to the American Samuel Ramey, Italian basso Ferruccio Furlanetto counts the title role of Jules Massenet’s Don Quixote as one of his signature roles. He reprised his Francophone Knight Errant for San Diego Opera Saturday (March 5) to thunderous, well-deserved acclaim at Civic Theatre. San Diego Opera has been fortunate to hear this great singer in a number of defining roles from Don Giovanni and Mephistopheles (in Gounod’s Faust) to more obscure leads such as Verdi’s early Oberto (Furlanetto’s San Diego debut in 1985) and last season’s Thomas Beckett in Pizzetti’s Murder in the Cathedral. Except for the Metropolitan Opera, Furlanetto has not made himself available to other North American companies, so local opera aficianodos have been doubly blessed by his San Diego partiality.
...Furlanetto imbued all of his with a rich, ingratiating sonority that filled the vast Civic Theatre, whether fervently expressing his devotion to Dulcinea or elaborating his philosophical bromides (San Diego Story)
Masterful Furlanetto in a thoughtful 'Don Quixote'
More reviews are coming out
Published April, 9 2014
Erica Miner in LA opus and Broadway World
For two magical hours, Ferruccio Furlanetto lifted an embattled San Diego Opera from its doldrums to the lofty heights only such an artist can invoke, in his exquisite rendering of Jules Massenet's noble, genteel Don Quixote.
The iconic role of chevalier de la longue figure is a pinnacle for an artist with Furlanetto's legendary status as a singer and actor, with his consummate command of vocal color, emotion and intention. It provides a supreme opportunity to show the deep humanity of a character within a fairytale setting, a personage whom Furlanetto feels every man should be in life: a man, young of heart, whose age is only on the exterior; who goes weak in the knees, whether from worship of an ideal or from his age, with unrelenting passion; whose fervent prayers come straight from the heart; who with pure adoration toward life and nature unconditionally loves whatever surrounds him. In our recent interview, Furlanetto affectingly expressed the Don's principles: "He's exactly what men should ideally be for three hours in their life: love for everything that's around us, whether it's nature, sky, air, other persons, animals."
Many here in San Diego consider Ferruccio Furlanetto our own National Treasure. As Quixote he embodies, heart and soul, un chevalier en aventure toujours en posture - a knight-errant searching for adventure always at the ready. For those few hours on stage he lives, and we experience, the best of human qualities. ….
Matthew Richard Martinez in the Bachtrack.com
One of the biggest draws at San Diego Opera for nearly 30 years has been the continuing presence of Italian bass Ferruccio Furlanetto. He is still an imposing dramatic and vocal force and his performances in San Diego are compelling draws, productions often tailored for the maestro. This production, premièred in 2009 with Furlanetto, may very well mark his final appearances in Southern California – this would be more than unfortunate. As the ancient knight Don Quixote, Furlanetto was charming and vocally resplendent. It was a magnetic performance, seamlessly entwined with the drama. Every gesture, every note, was part of Massenet’s hero.
Furlanetto portrayed him with a balky dignity that commanded respect. Whether fencing for Dulcinea, or tilting at windmills, Furlanetto was in complete command. His sonorous bass is rich, but capable of stunning tenderness, a color he used to moving effect. His death scene in the final act was supremely affecting.
The first night performance ended with the terrific ovations. Press indicates: The audience rose spontaneously and immediately when Furlanetto began the curtain calls with a solo bow. (Warhorses) The thunderous ovation at the opera’s conclusion was one of the loudest I’d heard in recent memory. A visually moved Furlanetto sank to one knee to receive the deserved acclaim from an adoring public. (Bachtrack)
Ferruccio Furlanetto saves the day in 'Don Quixote'
U-T San Diego reports on Don Quixote premiere
Published April, 6 2014
The Don Quixote premiere las night was terrific success, but the drama going on around the San Diego opera recently announced it’s shutting down sometimes overshadow the performance. “So much for the opera’s wish for a death with dignity” – starts his U-T San Diego review James Chute.
But Ferruccio Furlanetto’s superb Don Quixote “saves the day”: It took Furlanetto to calm things down. He made his entrance on horseback (not a real horse of course) with the excellent Eduardo Chama as Sancho Panza and immediately brought a sense of focus to the proceedings….
This is, in fact, Furlanetto’s opera. He originated the role when Campbell created and directed the production in 2009 (Keturah Stickann capably directed Saturday’s production)….
Fortunately, Furlanetto is Don Quixote. It’s hard to imagine anyone else bringing both the command and the sheer humanity that distinguishes his portrayal. He has internalized the role to the point where the acting is invisible. You are never aware of the singer, only this noble character. And he seemed to make everyone in the cast better.
Don Quixotte (2014) - San Diego Opera Spotlight
Published April 5, 2014
Don Quixotte opens at San Diego Opera tonight
Will it be the company swan song?
Published April 5, 2014
Don’t miss Ferruccio Furlanetto as Don Quixotte tonight. The San Diego Opera 2009 Don Quixotte production appears in the revised staging version of Keturah Stickann. In the cast Eduardo Chama as Sancho Panza, and Anke Vondung as Dulcinea, conductor - Karen Keltner.
Only few tickets left in the box office.
In case if you are not in San Diego you can still hear the International broadcast of the opera on April 5 on KPBS 89.5FM, 89.1FM in La Jolla and 97.7 in Imperial Valley or online at www.kpbs.org.
The Magic Island
Ferruccio Furlanetto speaks on the importance of the opera
Published March 31, 2014
Filtering Emotion, Touching Hearts
Ferruccio Furlanetto participated in the artist’s round table and gave an interview to the LAopus
Published March 28, 2014
Don Quixotte closes the San Diego Opera season and it’s whole 49 years history as the company announced recentely. Ferruccio Furlanetto who will be starring in the title role participated in the “Stars in the Salon” roundtable and was the only one who gave comment about this strange decision of the directors board.
U-T San Diego reports: „He compared opera to an “island of music” that reaches directly to the heart.
“Are we ready to do without it?” said Furlanetto, asking a question of his own. “I doubt it. I hope something will happen and this island will continue to exist.”
“Are we ready to do without it?” said Furlanetto, asking a question of his own. “I doubt it. I hope something will happen and this island will continue to exist.”
He also gave a deep and informative interview to Erica Miner from LA Opus where recollected the most memorable performances of Verdi Requiem, told about his vision of Don Quixotte, difficulty of French language and many other things.
Khovantschina, Simon Boccanegra and Don Carlo
Exceptional 2015-14 season in Vienna
Published March 26, 2014
Vienna State Opera has announced the 2014-15 season today. Ferruccio Furlanetto, who will be celebrating his 30th season in the House of the Ring will be singing three leading parts. In November he will sing for the first time ever Khowansky in the brand new production of Mussorgsky’s Khovantschina. Conductor - Semyon Bychkov, stage director - Lev Dodin. The premiere on November 15 with additional shows on 18, 21, 24, 27 and 30. Performance on November 21 will be livestreamed.
In January Ferruccio Furlanetto returns to the Peter Stain production of Simon Boccanegra as Fiesco. He performed this role in the House of the Ring 50 times and now will be adding three more starting from January 21. The last performance on February 1 will be livestreamed.
In February Furlanetto will be reprising one of his most acclaimed roles – Philipp II in Don Carlo in the Daniele Abbado production starting from February 22
And also on May 3 he will participate in Neil Shicoff Gala singing Cardinal Brogni in the fragment of La Juive.
Don Quixotte in the Salon of the San Diego Opera
Meet Ferruccio Furlanetto during the panel discussion of Don Quixotte
Published March 25, 2014
Don’t miss Ferruccio Furlanetto in one of his favorite roles on the stage of one of his favorite theaters. The rehearsals for Don Quichotte had already started. And if you are in San Diego you can have uniquie experience – meet the star of the production in person.
Join San Diego Opera moderator Dr. Nicolas Reveles for a provocative look at the music, characters and behind–the–scenes work of Don Quichotte. There’s ample time for questions from the audience and to chat with the stars before they go to the evening’s rehearsal of Don Quixote! The event is free and open to the public - no reservation required! Thursday, March 27th at 5:30pm San Diego Civic Theatre, The Beverly Sills Salon, 2nd Level
Ferruccio Furlanetto in his Own Way
Watch the video from the rehearsal of Don Quixote and the San Diego Opera podcast
Published March 24, 2014
In his interview with Director of Education of the San Diego Opera Nicolas Revlees of Ferruccio Furlanetto reflects on 40 years working in the opera world (interview was conducted on March 19).Don Quixote opens in San Diego on April 5
An Angry Requiem for a Senseless, Premature Death
Ferruccio Furlanetto setting a tone for Verdi Requiem
Published March 22, 2014
More reviews are coming out about sensational Verdi Requiem in the San Diego Opera are coming out.
“Ferruccio Furlanetto… added his breathtaking basso profundo artistry, packing a powerful punch to the already giddy audience’s experience.” LA opus
“…it was Ferruccio Furlanetto who really set the tone. The Italian bass sang with the cross expression on his face of a Grand Inquisitor. Weary, forceful, unforgettable, he doled out punishment to a "Death that will be stunned." Furlanetto will be reaching for the impossible dream in the company's final production, Massenet's "Don Quichotte," next month Los Angeles Times
“One San Diego Symphony member described Furlanetto's as the richest bass she'd ever heard. Indeed, the voice goes far beyond sumptuousness. That an instrument with the depth, power and opulence of Furlanetto's can at once negotiate the lower extremes of the basso range, and at its apex communicate the delicacy of a mere mortal pleading for the indulgence and understanding of a Supreme Being, demonstrates the essence of the singer's vocal virtuosity, and his uncanny ability to hold the audience in thrall whenever he emits a note.” broadwayworld.com
Requiem for San Diego Opera
Great performance became a farewell to the theater
Published March 21, 2014
Verdi Requiem performed on March 20 in San Diego became a stunning success but with a bit of sadness as Opera Company just announced that they are winding down after 49 years at the end of this season.
James Chute from the U-T San Diego reports: "… it was moving performance, and when it ended, there was absolute silence, perhaps for as many a five seconds. Then the crowd instantly jumped to its feet applauding and cheering."
Ferruccio Furlanetto sang a bass part and was "convincing and communicating." (More reviews to come.) He started his collaboration with the company in 1985 with the part of Oberto in Verdi’s opera, also on the stage of the Civic theater performed Don Giovanni (twice), Mephistopheles (twice) and Don Basilio . Furlanetto sang his first American Boris Godunov here and was Thomas Becket in the first American representation of the Pizzetti’s Murder in the Cathedral. He sang Massenet’s Don Quichotte in San Diego in 2009 with terrific success and now returns with this part. It seems significant that the last performance of Don Quichotte on April 13 will be also the last for the Company.
You can listen to the broadcasts of Requiem on March 29 and Don Quichotte on April 5 on KPBS 89.5FM, 89.1FM in La Jolla and 97.7 in Imperial Valley or online at www.kpbs.org.
Verdi Requiem in San Diego
Don't miss extraodinary performance
Published March 19, 2014
Ferruccio Furlanetto who just celebrated 40 years on stage will be singing bass part in Verdi Requiem in San Diego joining on the stage of the Civic Theatre Krassimira Stoyanova, Stephanie Blythe and Piotr Beczala. The combined San Diego Opera Chorus and the San Diego Master Chorale will be the largest chorus San Diego Opera has ever assembled. Italian conductor Massimo Zanetti conducts the San Diego Symphony in this concert work which cries out for eternal rest, forgiveness and divine redemption.
The performance which brings together extraordinary musical forces is sold out, but you can listen to the broadcast of it on Saturday, March 29, 2014 at 7:00pm (San Diego time) on KPBS 89.5FM, 89.1FM in La Jolla and 97.7 in Imperial Valley or online at www.kpbs.org.
Between Mussorgsky and Schubert
Ferruccio Furlanetto in the recital
Published March 9, 2014
Ferruccio Furlanetto finished his highly successful recital tour with his two programs: Rachmaninov and Mussorgsky songs and Schubert’s Winterreise Corina Kolbe wrote in Il Corriere Musicale about the Berlin concert:
“Con la sua voce potente e di ampia estensione evoca una vasta gamma di emozioni, che si esprimono nel grido disperato così come nel bisbiglio appena udibile. ... Con la sua voce Furlanetto esprime perfettamente le ricche sfumature dei brani che parlano della transitorietà della vita, del ricordo notturno dell’amante evocato da Puškin o del povero mendicante immaginato da Goethe, viandante commiserato ed emarginato. Tchetuev è un pianista abile, analitico e sensibile. L’affiatamento dei due artisti si percepisce anche nell’esecuzione delle Nove canzoni di Rachmaninov, anch’esse opere di una malinconia struggente. Con un’aria minacciosa il Destino bussa alla porta, ricordando ai presenti che la felicità non si troverà più, mentre altre canzoni lasciano una pur tenue speranza di amore e di pace interiore. “
In his next recital at the La Scala Ferruccio Furlanetto performed Schubert cycle Der Winterreise also with great success opening the vocal series of 2013-14 season at the theater. He spoke about this cycle to the Corriere della Sera just before the concert:
«Lo avevo studiato per la prima volta venti anni fa, ma non mi ero mai sentito pronto per cantarlo in pubblico ed inciderlo»
«Ogni volta che lo concludo mi sento esausto, mentalmente ed emotivamente. Tra i modelli non ho Fischer-Dieskau, il cui timbro è molto più chiaro del mio, ma Hans Hotter, che mi ha influenzato nelle sfumature e nei colori vocali; a chi mi chiede se sia possibile per un cantante di fama capire fino in fondo la solitudine e la disperazione tratteggiate da Muller nei versi del Viaggio d’inverno?, rispondo che ogni uomo conosce questi sentimenti, anche se magari non in forme così estreme. Ma i sentimenti e le circostanze cambiano in modo continuo, direi ciclico e inevitabile, come il tempo e le stagioni»
…für eine Stimme, für eine Persönlichkeit
Ferruccio Furlanetto performed his Russian program in Berlin
Published March 1, 2014
Ferruccio Furlanetto sang Rachmaninov and Mussorgsky songs in the Kammermusiksaal of the Berlin Philharmonie with great success. Rachmaninov’s Aleko aria, Tchaikovsky’s Blessings of the forests and finally Rachmaninov’s In the Silence of the Night were performed as encore and evening ended with the standing ovation. “…für eine Stimme, für eine Persönlichkeit“, - from the Public impressions.
Der Tagesspiegel reports:
Furlanetto spielt virtuos auf der vokalen Farbpalette. Und schlüpft dabei quasi mitten hinein in die dramatische Situation der Lieder, die Rachmaninow auf Texte von Puschkin, Goethe oder Heine geschrieben hat. Sie besingen die Natur, den Fluss, den Flieder und – in Russland immer wieder ein elementares Ereignis – den Sieg des Frühlings. Aus einem schlichten „Ich rufe Deinen Namen in die Dunkelheit“ macht Furlanetto ein existenzielles Drama. Dass Igor Tchetuev am Klavier die Stimmung herunterkühlt, zwar perlend, dabei aber analytisch spielt, das passt: Es grundiert, kontrastiert, befördert Furlanettos emotionalen Parforceritt.
Russian Program in Berlin Philharmonia
Don’t miss Ferruccio Furlanetto in Recital
Published February 23, 2014
His program – partnered by the Ukrainian pianist Igor Tchetuev, with whom he has already appeared at La Scala in Milan, St. Petersburg’s Mariinsky Theatre, Vienna State Opera, Charintische Sommer Festival and Grand Theater of Geneva – will include works of Sergei Rachmaninov, written between 1890 and 1916 and Modest Mussorgsky’s grotesque and fantastical “Songs and Dances of Death”.
Ferruccio Furlanetto sings Rachmaninov "I came to her" (Я был у ней) Piano ' Igor Tchetuev. Prestige Classics Vienna recording.
You can also listen (and download) the whole Rahmaninov’s “Fate” in the Magma podcast at Swiss radio Espace-2, recorded during Ferruccio Furlanetto’s recent highly successful recital at the Grand Theater of Geneva.
Boris to be remembered
Press reports about four uniquie evenings
Published February 14, 2014
Ferruccio Furlanetto had finished his highly successful tour with L'Orchestre National du Capitole de Toulouse under the lead of Tugan Sokhiev, which presented original version of Mussorgsky’s Boris Godunov in concert version. There were lasting ovations and press-reports about unique experience.
More and more reviews about these concerts are coming out. Bachtrack.com: reports: “Italian bass Ferruccio Furlanetto was an outstanding tsar, and his heartbreaking, tortured and very colored interpretation were enough to transcend the whole opera.”
Beckmesser.com: “… there are very few singers who come to the category of the genuine ARTISTS (in capital letters ) . Furlanetto is one of them . His ability to convey emotion with his singing is unique. I have my own special memories from the final scene of Simon Boccanegra with two great performers (Placido Domingo and Ferruccio Furlanetto) and a scene of the death of Don Quixote in Massenet 's opera, which was breathtaking . To this memories I will add now the scene of the death of Boris in this concert”
The King Returns to the Met
The Metropolitan Opera announced its 2014-15 season
The Metropolitan Opera just announced its 2014-15 season. Ferruccio Furlanetto will sing Philipp II in Don Carlo in the acclaimed Nicholas Hytner production which premiered at the Met in 2010. Ferruccio Furlanetto sang the part at the premier in 2010 as well in the first revival in 2012. Performance dates for 2015: March 30, April 2, 6, 11 mat, 15, 18 mat, 22, 25.
From the reviews:
“There, in a revival of Verdi’s Don Carlo that opened on Friday, the great bass Ferruccio Furlanetto is giving a spellbinding master class on the adage. As the tyrannical, isolated King Philip II of Spain, one of Verdi’s deepest creations, Mr. Furlanetto creates a chilling portrait of authority rotting from its core. Whether in his stentorian public declarations in the auto-da-fé scene or in the private outpouring “Ella giammai m’amo” (“She never loved me”), his Filippo is exhausted by his power yet frantic to keep it. Mr. Furlanetto meets Verdi’s demanding, wrenching music with commanding power and moving vulnerability in both voice and gesture.” (New York Times, 2013) Read the rest of Don Carlo reviews for 2013.
"Ferruccio Furlanetto dominates proceedings triumphantly as Filippo II. … enriches the cantilena with an endless stream of deep, dark, rolling tone, always fresh and equally resonant at both range extremes. ....he conveys the king’s anguish with compelling dignity and authority." (The Financial Times 2010)
“… great Mr. Furlanetto had set a high standard for this role” ( NY Times, 2010) This performance can be watched demand at the Met player. on You can check reviews from 2010 here. Fred Plotkin in his Analysis of the upcoming season at WQXR welcomes back Ferruccio Furlanetto as Philipp II, but also comments: It is frustrating that New York has not seen Furlanetto in some of his acclaimed roles, including Don Quixote and Boris Godunov.
ONCT - MOUSSORGSKI, Boris Godounov (version concert)
Fragment from the Coronation scene. l’Orchestre national du Capitole de Toulouse. Conductor – Tugan Sokhiev, Boris – Ferruccio Furlanetto, Choir - Orfeon Donostiarra
Published February 8, 2014
Ferruccio Furlanetto est un très grand Boris
More reviews: Le Monde and Forum Opera
Published February 7, 2014
Le Monde states: Tugan Sokhiev was right to wait for the Tsar he dreamed: Ferruccio Furlanetto is a great Boris Godunov, that can confirm the audience of unique concert at the Salle Pleiel on February 5.
Tugan Sokhiev a eu raison de tenir bon : Ferruccio Furlanetto est un très grand Boris, comme pourrait en témoigner le public subjugué de ce concert unique du 5 février, Salle Pleyel, à Paris. Le chef d'orchestre russe aura attendu trois années avant que la basse italienne soit disponible pour monter Boris Godounov, de Moussorgski, avec le tsar dont il rêvait.
…the Italian giant has literally captivated the hall with an overwhelming embodying humanity and poignant dramatic power showing the agony of tormented tsar defeated by the remorse.
...le géant italien a littéralement envoûté la salle, incarnant avec une bouleversante humanité et une puissance dramatique poignante la lente agonie du tsar infanticide vaincu par sa conscience.
Beyond words and notes, after the long final scene, full of fear and cruel self-hatred, calling in long lines for forgiveness and peace, the tall figure of broken Boris of Furlanetto will be remembered.
Au-delà des mots et des notes, dans la longue scène ultime, crachant la peur et la haine cruelle de soi, appelant à longs traits le pardon et la paix, la haute silhouette brisée du Boris de Furlanetto restera dans les mémoires
ForumOpera.com adds : Ferruccio Furlanetto Boris remains striking, he is full master of the work, absolutely sovereign…
Ferruccio Furlanetto, immense Boris
La Croix and La Figaro highly praised Boris Godunov performance in Paris
Published February 7, 2014
The La Croix blog and La Figaro highly praised Ferruccio Furlanetto as Boris Godunov in the concert version of the opera performed at Salle Pleiel in Paris on February 5. In advanceLa Croix published an interview of Tugan Sokhiev the chief of l'Orchestre du Capitole de Toulouse where he spoke about Ferruccio Furlanetto with admiration, pointing his vocal easiness in the low notes as well as in high tessitura, his dramatic and emotional commitment , and compelling charisma which captures the eye and ear when the artist step on stage.
Il y a quelques jours, lors d’un stimulant entretien pour La Croix avec le chef d’orchestre Tugan Sokhiev, nous avions évoqué la basse italienne Ferruccio Furlanetto, interprète du rôle-titre dans Boris Godounov de Moussorgski avec l’Orchestre national du Capitole de Toulouse. Plein d’une chaleureuse et sincère admiration, le musicien russe ne tarissait pas d’éloges sur « son » Boris, sur sa voix aisée dans les abysses comme dans l’aigu de la tessiture, son engagement dramatique et émotionnel, et cet indéfinissable charisme qui captive l’œil et l’oreille dès que l’artiste foule le plateau. «Nous avons déjà donné Boris ensemble à Vienne en version scénique, racontait Tugan Sokhiev, et il était magistral, bouleversant ! Mais j’avoue que je suis très heureux de le retrouver en version de concert. L’avoir aussi près de moi, sentir les ondes musicales passer entre nous, percevoir de manière immédiate l’ orchestre et la voix se fondre et se répondre, voilà une sensation absolument magique« .
The impressions of the Emmanuelle Giuliani - columnist of La Croix blog after the concert performance follows:
Mais, pour que cet impact soit entier, il faut un grand Boris. Et nous l’avons eu ! A peine franchit-il la porte qui le sépare de la coulisse, que Ferruccio Furlanetto impose la noblesse de son allure et la beauté altière mais très humaine de sa gestuelle, avec ses mouvements de mains, sobres et expressifs, qui stylisent le personnage, dessinent les contours d’un caractère versatile et torturé. Grand verdien, Philippe II effrayant et poignant dans Don Carlo ou Fiesco intraitable dans Simon Boccanegra, la basse offre à son Boris (un rôle dont il est familier) les phrases infinies, le legato vivant et la fluidité du chant italien le plus stylé. Si bien que les ruptures et les heurts, tout comme les accents rocailleux hérissant soudain sa voix aux harmoniques enveloppantes, ne sont là que pour suggérer le drame, insister sur une frayeur, un vertige, une folie envahissant l’esprit tourmenté du tsar.
Voici pour les lignes. Quant aux couleurs, leur palette est telle qu’on aimerait que toute basse, débutante ou aguerrie, s’en nourrisse et, pourquoi pas, s’en inspire ! Un exemple, parmi tant d’autres : dès que le fantôme puis la réalité de la mort s’emparent de l’âme angoissée de Boris, Ferruccio Furlanetto invite des brumes et des vapeurs dans sa voix, recouvre son riche timbre d’une grisaille spectrale. Puis elle se déchire comme elle est venue pour accompagner les tentatives désespérées de retour à la vie du fragile souverain. Enfin, lorsqu’il transmet la trop lourde couronne à son fils encore innocent de tout crime ou s’en remet à Dieu, le chanteur rentre en lui-même. L’auditeur, témoin privilégié et tremblant, partage alors quelques instants d’introspection inouïe. Comment une telle douceur, une telle audace dans le pianissimo parviennent-elles avec autant d’évidence jusqu’au fond de la salle ?
The author points that Paris got a great Boris in Ferruccio Furlanetto which imposes noble appearance and haughty but very human beauty in every gesture of his hand movements which are simple and expressive. Also praising the range of the voice and palette of colors in it. The original review is too beautifully written to do an adequate translation of it
«Un Boris qui restera dans les mémoires»
Tremendous success in Toulouse and Paris
Published February 6, 2014
The first two concerts in Toulouse and Paris of the Grand Tour of L'Orchestre National du Capitole de Toulouse under the lead of it’s chief conductor Tugan Sokhiev with the concert performance of Mussorgsky’s opera Boris Godunov became stunning success. The first reviews are coming. The main newspaper of the Midi-Pyrénées region La Dépêche du Midi reports:
“«Magnifique», «Un Boris qui restera dans les mémoires», «Quelle merveille !»… Ces réactions, recueillies lundi soir à la Halle aux Grains parmi le public, expriment en peu de mots l’émotion ressentie à l’issue de ce concert exceptionnel. Tugan Sokhiev rêvait depuis longtemps de monter à Toulouse «Boris Godounov», chef-d’œuvre emblématique de l’opéra russe. »
("Wonderful," "A Boris to be remembered", "How wonderful!" ... These reactions were collected Monday night at the Halle aux Grains from the public, expressing in a few words the emotion felt at the end of this exceptional concert.)
The audience and the reviewer were impressed by the storng vocal and dramatic presence of Ferruccio Furlanetto, who embodied Boris in every note and turn, both autocrative and delirious. The death scene became the moment of unforgetable theater. And the voice capable of small nuances, with the very secure line and variations of coulors.
“Le plateau de chanteurs est à la mesure de l’entreprise, dominé par la forte présence dramatique et vocale de la basse italienne Ferruccio Furlanetto. Son Boris est incarné à chaque note, tour à tour déchiré, autoritaire, délirant… La mort est un moment de théâtre inoubliable. La voix, capable d’infinies nuances, reste très sûre de ligne, variée dans les couleurs.”
The next two concerts will take place in Spain.
Boris Godunov Concert Tour Starts
Ferruccio Furlanetto sings Boris Godunov again
Published February 3, 2014
Ferruccio Furlanetto just finished his serie of three Boris Godunov'sperformances in Vienna which deserved long lasted ovations from the public and was highly acclaimed by critics. It is true that Furlanetto remains ruling Boris in Vienna as it was stated in Der Neue Merker review on the last performance: “This role has been in recent years really THE vital role of Furlanetto's career. It is almost unimaginable to have to hear a different Boris in Vienna.”
And now fresh from the Vienna success Ferruccio Furlanetto presents his Boris in a big tour with the L'Orchestre National du Capitole de Toulouse under the lead of it’s chief conductor Tugan Sokhiev (recently appointed Chief conductor of Moscow Bolshoi Theater). Furlanetto worked with Maestro Sokhiev before: at Mariinsky Theater on “Don Quichotte” in 2010 and at the Vienna State Opera on “Boris Godunov” in 2012.
In the cast: Anastasia Kalagina (Ksenia), Ain Anger (Pimen), John Graham-Hall (Shuisky), Stanislav Mostovoi (Holy Fool), Garry Magee (Tchelkalov), Marian Talaba (Grigory), Alexander Teliga (Varlaam), Vasily Efimov (Missail), Svetlana Lifar (Fiodor), Pavael Chervinsky (Nikitich, Mityuha). Chorus Orfeon Donostiarra (Jose Antonio Sainz Alfaro – chorus master). The concert presentations will take place at Halle aux grains in Toulouse on February 3, Salle Peiel in Paris on February 5, Auditorio Baluarte in Pamplona on February 8 and at Auditorio Principe Philipe in Oviedo on February 10.
Photo Ekaterina Belyaeva
Magical, Enchanting Impression
More reviews about Ferruccio Furlanetto as Don Quichotte
Published January 30, 2014
More reviews about Ferruccio Furlanetto’s stellar performance in Moscow are coming out. Irina Muravieva writes for the Rossijskaya Gazeta:
“... Valery Gergiev considered it vital to perform Don Quichotte in Moscow: here the role of the gentleman from La Mancha is performed by Ferruccio Furlanetto. He is an outstanding bass and a noble actor, ‘knight-like’ in stature. And if Massenet wrote the role of Don Quichotte with Fyodor Chaliapin in mind then the Mariinsky Theatre envisioned the involvement of Ferruccio Furlanetto in this production. “
This choice was entirely justified: Furlanetto’s Don Quichotte was not just girded with theatrical armour and looking as if the character had stepped straight off pages of illustrations of the famous novel by Cervantes: the tousled grey hair and beard, piercing eyes and lanky gait, but a true personification of those values that for centuries have embodied the charisma of chivalry – nobleness, idealism of love and protectiveness. Furlanetto, with his ‘noble’ voice, quiet and expressive in its every sound, is majestic and, at the same time, penetrates the soul with some kind of translucent purity, appearing as some rare and priceless ‘antique’ in the production.”
Maria Babalova for the newspaper Vechernaya Moskva states:
“Furlanetto’s Don Quichotte is a truly classical hero who rises above the strident and festive noise of the crowd without any stage trickery...
“... It is thanks to Ferruccio Furlanetto that the production, which has no contemporary theatre elements in either the set designs or its directing concept, creates an almost magical, enchanting impression.”
Photo Ekaterina Belyaeva
Five Chapters About Goodness and Beauty
“Don Quichotte” in the review
Published January 28, 2014
From the Petr Pospelov’s review in the Vedomosti:.
(...) on the other hand, everything has been done in order for Ferruccio Furlanetto to perform the role of Don Quichotte brilliantly. The sixty-four-year-old singer is one of few performers currently on the music scene who are able to enact such a subtle theme as the magnificence of defeat. Furlanetto’s Don Quichotte is elegant, slender and grey-haired: he is an idealist who is amusing, though certainly not an object of ridicule in his determination to wage war on windmills or his love for the frivolous Dulcinée. Furlanetto runs through the five compact acts (here merged into two) as five parts of a monologue — although others caper around and sing, these are five chapters about goodness and beauty, and he takes his leave of the world with his final breath. Valery Gergiev is sensitive to the protagonist’s monologue — the orchestra plays its role with an expressiveness equal to the singer’s flawlessly resonant bass voice.
Ferruccio Furlanetto returned Don Quichotte to the Bolshoi Theater
The presentation of Massenet’s opera at the Golden Mask Festival became stunning success
Published January 27, 2014
The XX theatrical festival Golden Mask in Moscow had opened with the presentation of the recent premiers of the Mariinsky theater. Ferruccio Furlanetto who together with Valery Gergiev initiated triumphal return of Massenet’s opera to the Mariinsky stage sung his favorite character also on historical stage of Bolshoi Theater, where opera was presented for the first time since Feodor Chaliapin time.
In his interview just before the performance Furlanetto told numerous TV correspondents that it is big honor for him to perform on this stage where great Chaliapin sang it and also big joy to perform this character, which he feels so well when he is in costume and make-up. The performance of opera in Yannis Kokkos production became big success with a terrific ovation for Furlanetto.
You can watch the fragments of the interviews and performance in the Russian TV newsreel
“Furlanetto glänzt in Boris Godunow
Opening night of “Boris Godunov” in reviews
Published January 24, 2014
The first night of Boris Godunov received stellar reviews in the Austrian press:
„Furlanetto shines in Boris Godunov" the review in the Kurier was titled. “Ferruccio Furlanetto as conflicted tzar was was captivating from beginning. Dramatic and vocal intensity and expressiveness became representation of wonderful mature role” – wrote Marion Eigl.
(‘Und Ferruccio Furlanettos vom Gewissen geplagter Zar war von Beginn weg fesselnd. Intensität und Ausdruckskraft von Spiel und Stimme ergaben eine wunderbar ausgereifte Rollendarstellung.“)
The wonderful and charismatic performance of Italian bass was also praised by Wiener Zeitung:
Wie menschlich verwirklichte Publikumsliebling Ferruccio Furlanetto den Godunow von Modest Mussorgski, hier wurde im reifen, sonoren Bass des Sängers das Ende eines ehemals schrecklichen Tyrannen wahr. Der mitunter höchst schwer einzuordnende große Russe hat mit seiner Oper in sieben Bildern der analytischen Denkwelt eines Debussy oder auch Schönberg schwer vorgegriffen.
and Der Neue Merker.
Aus der Premierenbesetzung erhalten geblieben ist der „Star“ des Abends, Ferruccio Furlanetto, der als Wiener Kammersänger aber auch schon fast als Ensemblemitglied zu betrachten ist. Sein Zar Boris erweckt nie den Eindruck, dass er jemals wirklich zu einem Kindesmord fähig gewesen sein könnte. Dazu fehlt ihm die Härte in Stimme und Auftreten. Er kämpft nicht um die Macht – sie wird ihm angeboten und er macht das Beste daraus, nämlich, er hört nie auf, Mensch zu sein. Ein Herrscher, wie ihn sich ein Land nur wünschen kann. Möglicherweise geht seine Sensiblität so weit, dass er bei der bloßen Vorstellung, ein Kind zu töten, schon an den Rand des Wahnsinns gerät. Das singt und spielt er großartig. Dass er in seiner Auftrittsszene nicht gleich mit voller Stimmwucht loslegt, bestärkt obige Annahme. Natürlich bleibt er dann steigerungsfähig, was sein imposantes Bassvolumen anbelangt, kann aber jederzeit die Stimme zurücknehmen und die ergreifendsten piano-Phrasen und wunderbaren Kantilenen formen. Dass Furlanetto trotz seiner sicher hundertprozentigen Beherrschung der russischen Sprache, von der er bekanntlich sagt, dass sie für ihn die sangbarste von allen ist, ein italienischer Boris bleibt, mit weichem, geschmeidigem bassocantante, zeichnet diesen Zaren als persönliche Interpretationsvariante aus. Er bleibt die Hauptattraktion dieser „Boris“-Produktion
The opening night were dedicated to the memory of Claudio Abbado.
Recital’s season starts
L’âme russe de Ferruccio Furlanetto
Published January 12, 2014
On January 12 Ferruccio Furlanetto gives the first performance from the series of his solo recitals scheduled for 2014. In the Grand Theater of Geneva he will present his acclaimed Russian program: in the first half Rahmaninov’s romances followed by Mussorgsky’s songs (ending with the Songs and Dances of Death) in the second. At the piano – Igor Tchetuev.
Famous Italian bass returns to Geneve after 20 years of absence: he sang in the Grand Theater title part in Le Nozze di Figaro twice in Nikolas Hytner production (in 1988 and 1993). Now in his return he gives completely different angle of his artistic personality.
Predominating the concert the On Stage magazine publishedm a feature on the special attitude of Italian bass towards Russian repertoire - “L’âme russe de Ferruccio Furlanetto”:
“…est l’un artistes europeéns à faire l’unanimité dans le répertoire russe”
Following recitals of the season: on February 26 at the Berlin Philharmonia, on March 3 at Milan’s La Scala, on March 6 in the Big Hall of Moscow Conservatory and on August 18 at the Carintishe Sommer Festival.
Photo Cory Weaver/SDO
Massenet’s Don Quichotte and Verdi’s Requiem for San Diego
Ferruccio Furlanetto comments in Opera Today
Published December 26, 2013
On Saturday evening January 25, San Diego Opera opens its 2014 season.Ferruccio Furlanetto sings bass part of Verdi Requiem on March 20 in a single performance with all star cast: soprano Krassimira Stoyanova, mezzo Stephanie Blythe, tenor Piotr Beczala. Massimo Zanetti will conduct the San Diego Opera Orchestra and a double chorus consisting of the opera chorus and the Master Chorale.
By Opera Today's request Furlanetto comments: “There are few roles or vocal parts that could give an interpreter a total accomplishment, Verdi’s Requiem is certainly one of these. Every time it is a new emotion. To be in San Diego also for this event is a tremendous joy that I am happy to share with colleagues that I admire very much and with an audience that has given me so much since my debut in 1985.”
He also wrote about his other engagement at San Diego Opera – Massenet’s Don Quichotte – one of his favorite ones, which he will also perform during the season in Moscow and Toronto: “I will keep going doing the role of Don Quixote for the rest of my career because it is without any doubt a wonderfully accomplished character. Vocally it is just a splendid promenade. As a character it is basically impossible to find a more involving one, the satisfaction that comes from it is overwhelming. It is a role that gives me a few hours of total happiness, quite a privilege in these times.”
In San Diego cast Eduardo Chama as Sancho Panza, and Anke Vondung as Dulcinea. It will be new staging of the opera by Keturah Stickann, conductor - Karen Keltner.
Aida opened new season of the Teatro San Carlo
Applause for Ferruccio Furlanetto and all vocal cast
Published December 9, 2013
Theatro San Carlo in Naples successfully opened it’s season with Aida staged by Franco Dragone marking bicentery of Giuseppe Verdi. Ferruccio Furlanetto debuted in the Teatro San Carlo singing Ramfis with great success. The performance was praised by the press. “Applause for all singers ... the great Furlanetto” – wrote Corriere del Mezzogiorno.:
“Applause for Dragone, Luisotti and all vocal cast”, – Il Mattino
“From the point of view of art and music Verdi was well interpreted by the music director of the San Carlo , Nicola Luisotti , Jorge De Leon ( Radames ) and Ferruccio Furlanetto ( Ramfis), – Napoli post.
“The basso was, as always, a certainty. With his vocal and interpretative composure, he drew a charismatic Ramfis, mastering the scene with his authoritative presence. When .. Furlanetto was on stage, the dramatic tension always reached a peak.” Bachtrack.com