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The highlight of this year's festival was Ita1y's first-ever uncut staging of Prokofiev's War and Peace (seen May 29 at the Teatro Nuovo), a musically uneven work that ncvcrtheless encompasses a wide range of characterization and variety of spectacle. It was masterfully directed by Gian Carlo Menotti (who also made a charming cameo appearance at Natasha's first ball) and Roman Hurko. They demonstrated that an inventive – and economical – use of traditional paintcd backdrops (splendidly designed by Robcrto Peregalli) and minimal props makes frequent and rapid scene changcs possible without sacrificing historical detail or emotional atmosphcrc. Their aim was clearly to make every scene moving and evocative, from the opening episode under Natasha's balcony to the haunting retreat of Napoleon's army, with Moscow aflame in the background. They succeeded brilliantly, showing courage, too, when they strippcd the stage bare during the moving epilogue to Part I – rousingly performed by the Russian State Chorus.
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The work of the mainly ynung cast was impressive as a valiant team effort, with striking individual portraits from such experienced performers as Alan Opie (a Napoleon of considerable vocal presence), Alan Ewing (Kutusov) and Justia Lavender (Pierre). Thc youthful Ekaterina Morozova, idel in appearance and vocally confident as Natasha, offered little dynamic shading. Roderick Williams, not particularly aristocratic in phrasing and dcportment, ncvcrtheless made a strong impression as Andrci; so dId 0leg Balachov as Anatol and Elena Ionova as Helene. Vladimir Ognev, Victoria Livengood and Vadim Zaplechny showed commendable versatilitiy in a variety of roles. Carlo Fonti's costumes were much appreciated, as was Danicla Malusardi's choreography in the ball scene. Equally praiseworthy was the intense, alert playing of the orchestra, two-thirds hidden under the stagc, led by an inspired Richard Hickox.
STEPHEN HASTINGS
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