Masterpiece? No. But touched with greatness
Richard | Minneapolis, Mongolia | 03/29/2008
(5 out of 5 stars)
"This opera marks a turning point in two ways. It sets the direction for Italian opera after Rossini and it's international success leads to Meyerbeer's Paris operas. Indebted to Rossini, yes - but it in a distinct voice - Meyerbeer's. It's a leaner Meyerbeer than Paris - no "effects without causes" here, although the plot is not the finest. Not much action. More about revelations between characters. But it is not just istorically interesting. It offers many delights during it's Wagnerian length. Act 1 has three gorgeous duets. Act 2 offers an extended scene for the soprano - and it's not a mad scene - she's at the edge but totally sane. Patrizia Ciofi is as usual stugendous. Why doesn't she sing this side of the ocean? All the singers are good but Michael Maniaci - the countertenor hero is especially noteworthy. The production uses minimal staging to maxmum effect. We do have the Crusader's ship on stage. The costumes are historically appropriate. It's also enligtening that the Christian's come off as more fanatical than the Muslims."
Une bonne curiosité
Mr. Daniel Zehnacker | 03/30/2008
(4 out of 5 stars)
"De Meyerbeer, peu d'opéras ont été représentés sur scène : Les Huguenots, et Robert le Diable principalement. Ce "Crociato" est donc le bienvenu. Bien mis en scène et bien interprété, il ne bénéficie pas, cependant, des prestigieuses distributions des sus-nommés (Corelli, Sutherland, Ramey, Anderson...). Il n'en est pas moins vivement recommandé de l'apprécier, car il est dans la veine des grands Rossini qui furent remis au goût du jour dans les années 80-90 (Ermione, Otello, La Donna del Lago...).
A défaut de grandes voix, les chanteurs ont de jolis timbres et une technique suffisante pour faire partager le plaisir de la découverte vis-à-vis d'une oeuvre qui, bien que marginale, gardera toutefois le parfum de la nouveauté."