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Byron & Shakespeare Genova
Teatro Carlo Felice
02/19/2026 -
Robert Schumann: Manfred, op. 115: Overture
Felix Mendelssohn: A Midsummer’s Night Dream, op. 21 & 61
Ilaria Vanacore (soprano), Valeria Tornatore (mezzo)
Coro del Teatro Carlo Felice, Claudio Marino Moretti (chorus master), Orchestra del Teatro Carlo Felice, Donato Renzetti (conductor)
D. Renzetti (© Opera Carlo Felice)
Based on Lord Byron’s 1817 poem of the same name, the Overture to Schumann’s Manfred is the most‑performed segment of this incidental music, effectively conveying the torment of Byron’s hero. Premiered in 1852, it was composed at a time when Schumann suffered from auditory hallucinations. The composer clearly identified with Byron’s Romantic hero, an amoral but troubled protagonist evocative of Don Juan in his defiance of the Creator, even in his last moments. Conductor Donato Renzetti deftly channeled the anguish in Schumann’s music, yet opted for poise rather than excess. By eschewing extreme tempi, Renzetti’s reading accentuated the overture’s lyricism.
Mendelssohn composed the Overture to Ein Sommernachtstraum (1826) at the young age of seventeen. In 1842, five years before his death, he wrote the present incidental music for a production of Shakespeare’s play. It was commissioned by Friedrich Wilhelm (1795‑1861), King of Prussia. In addition to the aforementioned Overture, thirteen more segments were added, of which the most popular is the “Wedding March”.
As many conductors often do, Renzetti omitted a few of segments from Mendelssohn’s work. Also, the Allegro appassionato was fused with the Intermezzo into one segment. Of course, the most popular pieces, the Overture, the Notturno, the Scherzo and the “Wedding March” were kept. While Renzetti’s Overture was spirited and light, almost ethereal, an elegant but quicker than usual tempo diminished the Notturno’s lyricism. The “Wedding March” was truly exuberant. Though not as popular as the aforementioned segments, the Intermezzo was the most magical.
The diction of the chorus was excellent; they were obviously well‑prepared by their director, Claudio Marino Moretti. The soprano aria with chorus, “Ye spotted snakes”, was brilliantly interpreted by Ilaria Vanacore, whose limpid voice was suited for this song. She ably conveyed the lullaby’s charm and sweetness.
The choice of coupling Schumann’s Manfred Overture with Mendelssohn’s A Midsummer’s Night Dream was felicitous, not only for the juxtaposition of two English literary giants, but also in its musical balance. Though both are major works by mid‑nineteenth century Germans, Schumann’s solemn yet arousing overture contrasts with Mendelssohn’s more cheerful choral work.
Usually performed with a narrator recounting events in Shakespeare’s play, the choice of English or German for this narration is often problematic. The issue was solved by dropping the narration altogether, a wise decision, given that few in the public would have understood either language. This also rendered the proceedings more compact, for a pleasant evening lasting about seventy minutes, and with no intermission. The duration may have had another purpose (read on).
Nestled between two performances of Tristan und Isolde at the same venue (the venerable Teatro Carlo Felice), this brief yet enjoyable concert felt like a respite of sorts for Renzetti and the orchestra. This may explain the relaxed atmosphere and the ethereal tempi adopted. The joyous atmosphere was augmented by a sizable contingent of Genoa high school students taking part in a program of classes, accompanied by their teachers. The brevity of the concert made it ideal for initiating for a young public. To the annoyance of many, the youngsters vigorously applauded between each movement in Mendelssohn’s work. Mercifully, Renzetti had reduced the fourteen segments to ten. While this created much interruption, what truly mattered was their unbridled enthusiasm. Spontaneity trumps etiquette!
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