(Photo: Stefano Binci)

Maiolati, a small Italian municipality of just six thousand inhabitants located in the province of Ancona, at the heart of Italy, preserves an important cultural legacy. In this serene village, Gaspare Spontini was born in 1774, a composer who, during his time, achieved extraordinary fame and recognition. However, over the years, his name and works have gradually fallen into oblivion. As a tribute to its illustrious son, the town adopted the name Maiolati Spontini in 1939, thus perpetuating the memory of one of the great masters of composers of his era.

In 2024, as part of the celebrations for the 250th anniversary of his birth—an event aiming to restore the memory of this unjustly forgotten creator—an ambitious co-production was organized between the Pergolesi Spontini Foundation, the Alighieri Theater in Ravenna, the Verdi Theater in Pisa, and the Municipal Theater of Piacenza. The chosen title could be none other than “La Vestale,” Spontini’s most iconic work, whose impact is intended to be vindicated in the face of the parallel celebrations for Puccini’s anniversary.

“La Vestale,” premiered at the Opéra de Paris in 1807, marked a turning point in the evolution of musical drama by blending the grandeur of classicism with the emerging Romantic fervor of the era. Étienne de Jouy’s libretto narrates the tragedy of Julia, a priestess of the Temple of Vesta, condemned to death for breaking her vow of chastity after falling in love with the victorious general Licinius. Just before her execution, the sacred flame of Vesta—extinguished during the lovers’ embrace and the cause of her condemnation—spontaneously reignites. This phenomenon is interpreted by the other priestesses as a sign of divine approval, allowing the couple to live in peace and granting the opera an unexpected happy ending.

This work not only embodies Napoleonic ideals of heroism and sacrifice, but also builds a bridge between opera seria and the spectacularity of grand opéra. For this occasion, the French version was chosen, using a libretto that reflects the modifications implemented during the original season more than two centuries ago. Thanks to the study of the autographed score preserved in Paris, it was possible to identify the variations made by Spontini himself, particularly the ballets, which, following French tradition, were added at the end of the first and third acts.

Musical Highlights

Spontini’s ability to weave intense drama through the orchestra and chorus, imbuing the characters with emotional depth, found an ideal interpreter in Alessandro Benigni. The conductor led the Corelli Orchestra with a meticulous and stylistically precise interpretation. The score presents significant technical challenges: classical nuances and ornamentation in the style of Mozart or Haydn blended with harmonies and passages clearly influenced by Beethoven. Benigni’s mastery lay in striking the perfect balance between these styles. From the solemn overture to the lyrical moments of the arias and ensembles, and through the crystalline ballets, the Italian maestro managed to balance ceremonial majesty with the protagonists’ intimate emotions. The orchestra responded with outstanding precision to the conductor’s demands, achieving a full and vibrant sound while carefully managing dynamics to support the singers.

The Municipal Theater of Piacenza Choir, directed by Corrado Casati, gave a powerful performance that captured the ritualistic and tragic atmosphere. The chorus embodied both the vestal priestesses guarding the temple and the Roman populace, contributing significantly in key moments such as the imposing climax “Ô terreur! Ô disgrâce!”, in which they condemn Julia, and in the celebratory “Chants d’allégresse aimable ivresse,” which exalts divine intervention at the couple’s wedding.

In the complex role of Julia, the priestess torn between her vow of chastity and her love for Licinius, Carmela Remigio delivered an outstanding performance. Her portrayal sensitively captured the character’s internal struggle, particularly in the recitative “Sur cet autel sacré” and the aria “Impitoyables dieux,” where she pleaded to the gods with refined phrasing, controlled vibrato, and superb acting. Her middle register was dreamlike, though some slightly pale high notes prevented her upper register from being perfect. Her farewell in the third act “Toi que je laisse sur la terre” in which she accepts her fate with resignation and bravery, was profoundly moving, making her performance one of the evening’s highlights. Remigio shone not only for her vocal quality but also for her impeccable acting.

Bruno Taddia brought an intense stage presence as Licinius, the Roman general who defies sacred laws for his love for Julia. Although he lacks a particularly attractive timbre, the Lombard baritone conveyed his character’s fervor and despair through expressive physicality. Taddia grew in strength and conviction throughout the opera, particularly shining in his duet with Remigio, “Adieu, mes tendres soeurs.” The role of Cinna, Licinius’s loyal friend who seeks to mediate between duty and passion, was performed with elegance and remarkable musicality by Joseph Dahdah, who proved to be a delightful surprise. The Lebanese tenor offered a clear, youthful, and refined vocal line, along with appropriate power.

Daniela Pini, as the Great Vestal, stood out for her severe yet maternal portrayal, charged with maintaining the temple’s purity and judging Julia. Though somewhat restrained vocally and dramatically in the first act, her interpretation grew significantly stronger as the opera progressed. Adriano Gramigni, as the Supreme Pontiff, provided a solemn and convincing presence, representing the divine authority challenged by Julia.

Illuminating Production

Scene director Gianluca Falaschi, also responsible for the set and costume design, incorporated an implicit tribute to Maria Callas, who achieved extraordinary success with “La Vestale” at La Scala in Milan during the 1950s. In the program notes, Falaschi highlighted the parallel between Julia and Callas, asserting that both women faced relentless pressure, crushed by societal expectations and the weight of their personal legends. This visual approach balanced classical austerity with minimalist touches, combining stylized columns and costumes that merged elements of Roman antiquity, such as white togas, with modern details like tuxedos and evening gowns.

Special mention goes to the eight dancers who, under Luca Silvestrini’s choreography, masterfully performed the two extended ballets with contemporary technique, particularly shining in the luminous finale. The audience unanimously applauded this celebration of Spontini’s 250th birthday, which, despite being overshadowed by Puccini’s anniversary, successfully revived this historical gem with excellence.