From Around the World: MILAN.(Teatro alla Scala, Milan, Italy)(Brief Article)(Review)

Director-designer Pier' Alli's new production of La Sonnambula at La Scala (seen Jan. 19) proved most persuasive in bringing the emotional lives of the characters into sharp focus within subtly lit sets that mirrored the dream-like, pastoral quality of Bellini's music without straying into pure abstraction. The chorus was geometrically disposed along the back and sides of the set while Amina, Elvino, Rodolfo, Lisa, Alessio and Teresa played out their private dramas -- to telling effect -- centerstage. The work was performed uncut, with appropriate embellishments throughout, and Maurizio Benini conducted the score with stylistic awareness, although he is not quite a master of rubato, and the orchestral playing was more accomplished than emotionally engaged.

The cast was as strong as any one could hear today, and some of the music -- such as the "Zefiro errante" duet in Act I -- was performed with breathtaking refinement and virtuosity. Natalie Dessay (Amina) and Juan Diego Florez (Elvino) are extraordinarily musical singers, and it was a rare pleasure to hear them onstage together. Of the two, Dessay is the more controversial performer. When she amplifies her tone ...