MILAN

Giordano's Fedora is one of the hollowest of verismo operas, yet it contains a couple of exquisitely potent tunes that few audiences can resist. The recent La Scala performances, conducted by Gianandrea Gavazzeni, proved the biggest success so far this season, in spite of a less than ideal cast. Plácido Domingo was a generally plausible Loris (May 2), but he appeared less involved than on other occasions and had difficulty in the soaring phrases that bring Act II to a close (the audience, however, either did not mind or did not notice). Mirella Freni, making her debut in the title role, had no such difficulties yet seemed ill at ease in a part that depends on telling gestures and expressive glances (the fast-moving first act was dull, because one could not read Fedora's reactions on her face), and her voice proved incapable of projecting deviousness or hatred.

This lack of theatrical tension was a general weakness of Lamberto Puggelli's production. The mobile sets and backdrops designed by Luisa Spignatelli failed to compensate for the stiltedness of some of the acting, and the cluttered furnishings (conceived, as explained in a program note, to convey the characters' horror vacui), seemed above all to get in the way. Puggelli appeared to have worked profitably, however, with Alessandro Corbelli and Adelina Scarabelli, who were excellent as De Siriex and Olga. Secondary roles were well cast, and the singing of Luigi Roni (Cirillo) gave much pleasure, as did the orchestra, in top form.

- STEPHEN HASTINGS