IN THE PRESS
Photo Michael Poen
“Simon Boccanegra” in the Austrian Press
First reviews are coming out
Published September 29, 2013
The first night of “Simon Boccanegra” became huge success as it is also clearly indicated by the first reviews.
The Kurier is giving 4,5 stars to the performance and writes: “Once more , the wonderful Ferruccio Furlanetto impresses as Fiesco.. He also creates an intense character with his very clear pronunciation –like by his partners-and his refined bass. His duet with Hampson arouses enthusiasm and turns Verdi's drama to a real psychothriller.”
And Osterreich was “impressed by the Italian prince of the basses, Ferruccio Furlanetto, as dark Fiesco”.
Wiener Zeitung writes that „Ferruccio Furlanetto as sonorous Fiesco made us tremble once more”.
And Kronen Zeitung adds: “With big, luminous bass and perfect diction he characterized this proud aristocrat turn between strict code of honor, political stiff sense and intrigues.
Don't Miss Ferruccio Furlanetto at the Vienna State Opera
The Intelligent Life recommends
Published September 16, 2013
For his pick of this autumn's classical music, UK renown critic Michael Church chooses three roles by Ferruccio Furlanetto at the Vienna State Opera
From INTELLIGENT LIFE magazine, September/October 2013: “They call him the Prince of Basses, and it fits. When Ferruccio Furlanetto is on stage, the chaste beauty of his sound seems to pervade the auditorium even when he’s silent, so compelling—even frightening—is his presence. Fans cross oceans to catch his performances: his speciality lies in tormented, self-doubting monarchs, notably Mussorgsky’s Boris Godunov, a role he sings this winter in Vienna. Once a formidable Don Giovanni, this elegant Italian gladly accepts that his Mozart days are over. "At 64, - he says, - happiness is singing the anguish of Verdi’s Philip II, or Tsar Boris’s tearful farewell to his subjects.”
Photo ROH/Clive Barda
All the press about Covent Garden performances
Published July 21, 2013
Ferruccio Furlanetto had finished the long run of the performances at the Royal Opera House: 8 as Philipp II in “Don Carlo” and 7 as Fiesco in “Simon Boccanegra”.
All performances were huge success and received stellar reviews. “Philipp II again is perfectly sung by Ferruccio Furlanetto: his double act with Pappano’s pacing and accompanying is one of the most moving and thought-provoking of this unforgettable evening.” – wrote Hilary Finch for the The Times
And here from The Times review about “Simon Boccanegra”: “Ferruccio Furlanetto’s basso profundo returns to the role, and is every bit as inexorable as and prophetic as Verdi wanted it to be. And his voice can quiver, too, with gasps of grief and despair, as tomb and throne become fused in Boccanegra’s destiny.”
Ferruccio Furlanetto will return to his favorite Verdi roles in Vienna at the beginning of the season.
Photo Dan Rest
“Hugely Impressive Performance”
More reviews on Simon Boccanegra at Covent Garden
Published July 7, 2013
“Ferruccio Furlanetto’s proudly sung Fiesco, who gets more imposing every time we see him, - writes Richard Fairman for Financial Times, pointing that the singer “felt completely comfortable with his role and stood ready to deliver the goods.”
“Ferruccio Furlanetto as Fiesco makes his second back-to-back Verdi appearance of the season following a memorable Philip II in Don Carlo and his compassionate, committed portrayal of Amelia's long-lost grandfather makes clear sense of a complex role” – writes Mark Valencia for What’s On Stage.
William Hartston from Express confirms hugely impressive performances from Ferruccio Furlanetto. As well as The Stage: “Ferruccio Furlanetto is the weighty Fiesco, pouring out rich Italianate tone all night”.
And from Colin Clarke review for Seen and Heard International: “Fiesco has the first extended solo of the opera. Italian bass Ferrucio Furlanetto carries a world of experience with him. His prayer in the Prologue to Maria was not only intense, but notable also for its true attunement not only to character and situation, but for its resonance with true, great Verdi singing. Furlanetto sang this role at Covent Garden in 2008, and in 2010 (in two different productions); he sang Fiesco also in the recent Chicago Lyric production. In many ways, it was Furlanetto who was the steering force for this performance to attain and maintain its sense of the special; of particular note was his “Come un fantasma”, a masterclass in great Verdi assumption. The final act meeting of the two (heralded by an unaccompanied line delivered spectacularly by four absolutely unison horns) provided gripping theatre, Pappano allowing the music to speak while retaining that sense of flow.”
Photo © CS/Neumueller
First Winterreise in Austria
Ferruccio Furlanetto sang his first “Winterreise” in Austria. The highly successful performance during the Carinthischer Sommer in the Collegiate Church of Ossiach was praised by the public and the press.
The Ossiach church dates back to the 11th century. The church allows more than 600 seats and has a perfect acoustics. The fact that there was the last concert of the festival in Ossiach and the dark atmosphere of the Schubert Lieder were a good combination as Friedrich Harald wrote in the KTZ: “Opera legend Ferruccio Furlanetto offered his very impressive interpretation of “Winterreise”. Furlanetto knows to describe the sadness, the darkness which he expresses in the bass register, and is very sensitively accompanied by Igor Tchetuev who provides every nuance of the score in a very nuanced and sensitive play.
Willi Rainer in the “Kleine Zeitung” wrote: Ferruccio Furlanetto, acclaimed bass on the world operas stages, travelled in the darkened country of the soul, full of grief, pain, depression , longing for death. With sonorous voice despite of its fullness and dark timbre, he did justice to the fragile architecture of the Schubert’s work with the deep and concentrated interpretation. The review also points that the excellent articulation and technique of the singer underline the whole cycle with a real personal identification
A real support came also from the excellent piano of the Ukrainian Igor Tchetuev :he played sensitively in the background but leading the illustrative accents very seriously. The public was captivated from the first note until the last Lied. After a small break of silence allowing the tension to lay down, came a long applause”
Looking forward for Winterreise
The upcoming Ferruccio Furlanetto’s Recital with Winterreise during Carintishe Sommer in Ossiah is very much anticipated. On August 17 a big feature in Der Standard appeared devoted to the upcoming event. The recording of Winterreise released by Prestige Classics Vienna was already praised by Austrian press. In the conversation with the famed opera star the Viennese newspaper correspondent Stefan Ender tryes to find out deeper meaning of Schubert’s circle for the Italian bass.
Why it appeared on this late stage of his career in his repertoire?
Furlanetto would already have remembered 20 years ago for the first time to sing the work. "I have studied it, has looked for the right moods. Then, however, in the end, I have noticed that I am not ready yet for it. Last year the right moment had come."
In his interpretation he follows not obvious choices (Dietrich Fischer-Dieskau for instance), but Hans Hotter: "His voice is very similar to mine, he has influenced me what concerns the mixture of the vocal colors."
The "Winterreise", according to Furlanetto further, is less challenge for the voice than for the mind: "I am completely exhausted mentally and emotionally afterwards."
Does he know as a famed singer, actually, such situations of the loneliness, the desperation, the being an outsider, the same as songwriter Wilhelm Muller here? "Of course. Everybody knows such situations, maybe not in so extreme form. Feelings and living conditions change like the weather and the seasons..."
Is his song companions to him more servants or partners? "One of my first pianists with which I have made song was Alexis Weissenberg - certainly no servant's type. With him I have made the songs of Rahmaninov and Mussorgsky which I will also sing in my Recital at the Vienna State Opera in May, 2013. The young Russian pianist Igor Tchetuev with whom I go on with the 'Winterreise' is a sensitive, deeply feeling artist. Two personalities must become one with the song, only that way a persuasive experience comes about."
Great Boris Godunov in Palermo: Press Report
The performances of "Boris Godunov" in Teatro Massimo (Palermo) became a great success of Ferruccio Furlanetto in the title role.
La Repubblica wrote that great Boris of Ferruccio Furlanetto was "rich in timbre and powerful, interpreted with a very modern theatrical sensitiveness". As Sicilia press reports Ferruccio Furlanetto received a true ovation from the public “His performance was perfect, supported by a rare ability to dominate the stage”. "Perfect Furlanetto in the title role, - points Il Sole, - Boris here magnificent hero, absolutely, thanks to the strongly theatrical interpretation of Ferruccio Furlanetto: sweet with two children, ferocious in public, raving when he is alone..."
The Mussorgsky opera returned to Teatro Massimo after 25 years in 1872 Lamm version in the colorful staging of Hugo de Ana.