“L’amico Fritz” at the Festival Mascagni A Visually Glorious and Musically Sublime Revival
- Mary Jane Cryons
- 2 days ago
- 3 min read
September 12 – Teatro Goldoni, Livorno – Festival Mascagni
The Festival Mascagni’s presentation of L’amico Fritz was a striking example of what can happen when tradition is treated not as a museum piece but as a living, breathing canvas. Anchored by two artistic giants, baritone Massimo Cavalletti and conductor Stefano Vignati, the production reached moments of profound musical beauty and theatrical cohesion that will remain etched in the memory of those fortunate enough to attend.
The staging revived Ivan Stefanutti’s sets and costumes originally designed for the 1991 centenary edition production, a visual triumph that has aged with elegance and grace. His scenic vision, rich in lyrical charm and painterly light, conjured a bucolic Alsatian dreamscape, rendered with such care and sensitivity that it became an essential narrative force. It’s rare that design achieves such a seamless fusion with music, but here, Stefanutti's hand was both subtle and powerful.
Musically, it was Maestro Stefano Vignati who shaped the evening with extraordinary finesse. From the shimmering opening to the emotionally charged Intermezzo, Vignati revealed himself as a conductor of rare depth and clarity. His reading of Mascagni’s often underestimated score was revelatory, transparent, richly colored, and emotionally nuanced. Every tempo felt organic, every phrase breathed with life, and his attention to orchestral detail, leading the Orchestra del Teatro Goldoni “Massimo De Bernart”, allowed the inner workings of the music to shine. The audience responded with spontaneous mid-performance applause, particularly during the Intermezzo, which he sculpted with such expressive precision it became one of the emotional high points of the evening.
Currently serving as Music Director of Opera Carolina in the United States, Maestro Vignati demonstrated in Livorno why his reputation continues to grow internationally.
Alongside him stood Massimo Cavalletti, a baritone of international stature known for his many acclaimed performances at the Metropolitan Opera. His portrayal of Rabbino David on September 12 was rich in warmth, nobility, and refined vocalism. Cavalletti’s phrasing, his command of legato, and his magnetic stage presence made every scene he appeared in resonate.
Together, Cavalletti and Vignati were the pillars of the production, their collaboration an ideal fusion of musical intelligence and emotional insight. Their shared presence on the same stage brought a level of prestige and artistic quality rarely matched in regional opera today. One can only hope that this is not a one-off pairing, their synergy suggests a creative partnership that deserves to be heard again and again in other theaters, in Italy and beyond.
The rest of the cast had more uneven results. Soprano Rossella Vingiani, in the role of Suzel on September 12, showed clear vocal potential with a warm, appealing timbre. However, her performance on opening night was undercut by evident personal tension, leading to musical instability at key moments. Her voice remains promising, but her delivery lacked the expressive security needed for such a central role.
The title role was sung by Fabio Serani, whose natural vocal color is not without appeal, but whose lack of vocal technique was glaring. He struggled throughout the performance and ultimately lost his voice before the final scenes.
As Beppe lo zingaro, Valentina Coletti brought charm and vivacity to the role. Coletti, in particular, sang with a lovely line and keen sense of phrasing.
In the supporting roles, Davide Chiodo was a solid Hanezò, and Virginia Moretti gave a warmly sung Caterina. These smaller roles helped fill out the life of the Alsatian village with a sense of lived-in humanity and community.
The Coro del Teatro Goldoni di Livorno, under the direction of Maurizio Preziosi, was precise and expressive, providing well-balanced and responsive choral work throughout. The orchestra played with remarkable commitment, responding intuitively to Vignati’s baton in one of the most musically rewarding performances of the festival.
Stage direction by Carlo Antonio De Lucia was tasteful and restrained. Though not groundbreaking, his staging respected the romantic essence of the opera without imposing unnecessary modernity. The result was elegant and coherent, a production that honored the spirit of L’amico Fritz without ostentation.
Ultimately, it was nothing short of a triumph.