A near-perfect triptych: at Opéra Bastille, Paris, Christof Loy conjures atmosphere inspired by film for Puccini’s Il Trittico conducted by Carlo Rizzi

Puccini: Gianni Schicchi – Opéra Bastille (Photo: Guergana Damianova/OnP)

Puccini: Il Trittico; Asmik Grigorian, Alexey Neklyudov, Misha Kiria, Enkelejda Shkoza, Joshua Guerrero, Roman Burdenko, Karita Mattila, director Christof Loy, conductor Carlo Rizzi; Opéra Bastille, Paris
Reviewed by Andreas Rey, 29 April 2025

An excellent evening. A near-perfect triptych. Our Paris correspondent enjoys Puccini’s trilogy directed by Christof Loy with Asmik Grigorian in three soprano roles

From April 29 to May 28, the Opéra Bastille presents a new production of Puccini’s Il Trittico (Triptych),
directed by Christof Loy and conducted by Carlo Rizzi. This was a co-production with the Salzburg Festival where the production debuted in 2022 with substantially the same case [see review on Bachtrack]. Three operas of different natures, all
juxtaposed to demonstrate the breadth of the Italian composer’s genius. Contrary to Puccini’s own
instructions, the German director begins the work with the opera buffa Gianni Schicchi, continues
with the verist opera Il Tabarro and finishes with the Puccinian opera Suor Angelica
(Sister Angelica), allowing star Lithuanian soprano Asmik Grigorian to build up the dramatic intensity
before ending with a climactic finale.

We must begin by saluting the excellent work of the director’s team, namely set designer Étienne
Pluss, costume designer Barbara Drosihn, lighting designer Fabrice Kebour and dramaturg Yvonne
Gebauer, who give each opera a different atmosphere, inspired by a film genre.

Puccini: Il Tabarro – Opéra Bastille (Photo: Guergana Damianova/OnP)

To capture the atmosphere of the opera buffa, the German director drew inspiration from the Italian
comedy films of the 1960s and 1970s. 

Here, the stage is the death chamber of the wealthy bourgeois
Buoso Donati. The dead man lies in his king-size bed, his family eating pork by his side. evening
lighting softens the colors of Tuscany as time passes. Her family’s costumes are indicative of their
middle-class Italian provincial lifestyle. One of the great qualities of this performance is the acting,
which although fluid and different in nature for each opera, is perfectly assimilated. In the case of
Gianni Schicchi, the heirs’ veiled, self-interested to the point of crassness character is rendered by
the grotesque and jubilant exaggeration of their actions. They rummage through the furniture to find
his will, and don’t hesitate to steal the candelabras and a still-lit lamp from the hall console as if in
libeccio, once Gianni Schicchi has become the owner and chased them out of his house. This
exaggeration is used to enshrine almost outrageous moments, such as the dance of satisfaction when
they find the famous document, or when the women rudely try to seduce Gianni Schicchi.

Unfortunately, as the voices were not yet broken in, the quality of the singing was not yet optimal in
the secondary roles, so Rinuccio’s monologue sung by the young tenor Alexey Neklyudov or the
group scenes did not go down well with the orchestra. And soprano Asmik Grigorian did not quite
manage convey all the enchanting sweetness of ‘O mio babino caro’, still lacking roundness in the
voice, notwithstanding her radiant uprightness was already beginning to make itself heard. She
would make herself heard even more clearly in subsequent operas.

However, Georgian baritone Misha Kiria gave a more than convincing Gianni Schicchi. Succeeding in
blending a more than aptly truculent performance with a singing style that was at times dry, when he
was ordering the heirs around, and perfidious in his insinuations, when he reminded the members of
the deceased’s family of the punishments for perjury, he embodied an authentic peasant who is not
to be trifled with.

Another quality of this opera was the orchestra, which combined strings and brass, lyricism and
narrative, comedy and seriousness, recalling both Puccini’s Wagnerian and Verdian hearses.

While Puccini’s orchestration of Gianni Schicchi was inspired by the bourgeois operas of Richard
Strauss and the comic operas of Donizetti, his next opera, the verist Il Tabarro, recalled the Pagliacci of
his friend Ruggero Leoncavallo.

Puccini: Il Tabarro – Christof Loy’s production at the Salzburg Festival in 2022 (Photo: Monika_Rittershaus)

Here, the set is set within gray walls, and its props – a barge from which sailors have pulled out
furniture to create a small salon next to it – have no relationship to one another. An iron staircase to
the left and a door at the back of the stage allow the characters to come and go. In addition to the
sailors, Laurette and Michele, La Frugola and her companion, a couple of pantomimes comment on
the drama. The lighting is cold. The whole thing floats in a gray, gloomy, nauseating atmosphere
reminiscent of the grand-guignol from which it’s taken, or a kind of sad Giorgio de Chirico close to
Yves Tanguy. Here, the acting is more natural, more realistic, drier. The costumes are dull and dirty.
Although the atmosphere is friendly, with the exception of Michele’s interventions, it’s not a pleasant
place to be. The inspiration seems to come from art house or film noir.

The voices, much more assured than in Gianni Schicchi, followed the spoken language, as in Janaceck,
Debussy or certain operas by Richard Strauss. Quite the opposite, in fact. Asmik Grigorian as Giorgetta succeeded in changing the nature of her voice, moving towards a raw truth. She wasn’t
touching, she was dry, true, hard. The voices of the secondary roles were also better: mezzo
Enkelejda Shkoza, who played Zita in Gianni Schicchi, was clearer, stronger and rounder, perfect in
her role as Lauretta’s friend, the Weasel. It was unfortunate that tenor Joshua Guerrero, though
clear, seemed to push the greenness of his voice to make himself heard. He’ll need to fortify himself
further if he’s to on roles with such a modern conception of singing. But the real weak point of the
vocal set remained baritone Roman Burdenko’s Michele, whose lack of vocal color struggled to
convey the depression caused by the character’s advancing age.

Fortunately, the orchestra, with its brittle, Janaceck-like tones, its coldness and lack of auditory
comfort, captured the nauseating atmosphere of this opera. The Italian conductor, like the director,
knew perfectly how to transform his strings.

Puccini: Suor Angelica – Asmik Grigorian, Karita Mattila – Christof Loy’s production at the Salzburg Festival in 2022 (Photo: Monika_Rittershaus)

Finally, Suor Angelica seems as much an Ingmar Bermann short film as concentrated Puccini. The
cold, yellow, church-like lighting perfectly conveys a convent atmosphere. The lack of props on stage
adds to the harshness of the setting. Fans will debate whether this Suor Angelica is the best of the
evening’s three operas, so much so that everything seems in its place. Is it because this opera is the
most Puccinian of the three, resting, like the Manon, Tosca or Madame Butterfly of Puccini’s Illica
and Giacosa period, on internal conflict and thus the choice of a woman’s destiny, or is it because this
opera is without male voices and thus without the imperfections of the singers of yesteryear.
Whatever the case, the voices, relationships, setting and acting are ideal. The voices of the secondary
characters are accurate, natural and expressive. As are their embodiments. Soprano Ilanah Lobel-
Torres as Sister Osmina and soprano Lucia Tumminelli as Sister Dulcina, for example, never sounded
forced, and were therefore perfectly touching. The confrontation between soprano Karita Mattila as
the Pincipessa and Asmik Grigorian’s Sister Angelica will always be remembered as a perfect success
of tension, embodiment and drama. Karita Mattila’s voice is as much an actress as her body. She
portrays a lady steeped in tradition, facing Sister Angelica, who has sacrificed everything. Karita
Mattila’s singing was straight but supple, human but tough, like her role. Asmik Grigorian was ideal as
the mother who learns of her son’s death long after his passing, and who must once again sacrifice
everything, including her life. She succeeded in transcending rigor, strength and fire of her voice, to
reach directly for the emotion. She even made us forget the length of the drama’s ending with this
long, somewhat repetitive monologue, exuding her music so perfectly.

The orchestra once again changed its nature, displaying the fine charm, silky colors and harmonious
melodies typical of Puccini, as if to give a concentration of the Italian composer’s orchestral genius.

An excellent evening. A near-perfect triptych.

Puccini: Suor Angelica – Christof Loy’s production at the Salzburg Festival in 2022 (Photo: Monika_Rittershaus)

Gianni Schicchi
Gianni Schicchi: Misha Kiria
Lauretta: Asmik Grigorian
Zita: Enkeleda Shkoza
Rinuccio: Alexey Neklyudov
Gherardo: Dean Power
Nella: Lavinia Bini
Betto: Manele Esteve Madrid
Simone: Scott Wilde
Marco: Iurii Samoilov
La Ciesca: Theresa Kronthaler
Spinellocio: Matteo Pierone
Pinellino: Vartan Gabrielan
Guccio: Luis-Felipe Sousa
Amantio di Nicolaio: Alejandro Balinas Vieites

Il Tabarro
Michele: Roman Burdenko
Giorgetta: Asmik Grigorian
Luigi: Joshua Guerrero
Il Tinca: Andrea Giovanni
Il Talpa: Scott Wilde
La Frugola: Enkeleda Shkoza
Un venditore di canzonetta: Dean Power
Un amante: Ilanah Lobel-Torres

Suor Angelica
Suor Angelica: Asmik Grigorian
La Zia Principessa: Karita Mattila
La Badessa: Hanna Schwarz
La Suora Zelatrice: Enkeleda Shkoza
La Maestra della novize: Theresa Kronthaler
Suor Genevieffa: Margarita Polonskaya
Suor Osmina: Ilanah Lobel-Torres
Suor Dolcina: Lucia Tuminelli