Winifred Wagner, the controversial Bayreuth manager: views on the 1975 Syberberg film.

In 1975, the filmmaker Hans Jürgen Syberberg interviewed a key figure in the history of the Bayreuth Festival, Wagnerian history and the cultural life of the Third Reich: Winifred Wagner , the maestro's daughter-in-law. Between 1931 and 1944, Winifred managed the Bayreuth Festival, during its most troubled period of history: when it became the main cultural temple of Nazi Germany, due to Adolf Hitler's admiration for Wagnerian work and his closeness to the composer's family, especially to Winifred. The artistic achievements that took place at that time are undeniable: working with director Heinz Tietjen and scenographer Emil Preetorius, the Festival reached its greatest glory at that time. Tietjen modernised the Festival's staging, not without controversy due to Wagnerian orthodoxy, replacing painted curtains with the best stage technology of the time. Although the ultra-conservative, anti-Semitic and xenophobic Bayreuth circle and later the Nazi government kept many of the best Wagnerian artists of their time away because they were Jewish, left-wing or "modern", great voices such as Max Lorenz, Frida Leider, Marta Fuchs, Rudolf Bockelmann or Germaine Lubin, or great conductors such as Artturo Toscanini (only in 1930 and 1931), Wilhelm Furtwängler, Karl Elmendorff, Richard Strauss or Hermann Abendroth could be heard at the Festspielhaus. However, beyond music circles, this period has gone down in history for many because of the close friendship between Winifred Wagner and Adolf Hitler.

During five hours, Syberberg gives voice to Winifred Wagner, a controversial figure, so that she can tell not only the story of her life, but also express her thoughts, including her experiences during the Nazi era, in that time (1975) when no one who had lived through it dared to speak too much about it in public. It seems as if all the material was displayed, without editing or removing anything, with the only interruptions being the change of reels. A black and white photograph that could seem rudimentary for the time, especially when photographs appear, but which ends up becoming a window into the soul of this woman and of old Bayreuth. The film begins with  Wagner's Siegfried Idyll in the background, a piece composed for the birth of Siegfried Wagner, son of the maestro and husband of our protagonist, while photographs appear of a Wahnfried that in 1975 had not yet been rebuilt after the war and was still in ruins.

I must admit that after having seen it, I am not sure how far I should judge Winifred as I used to do until then, but, I must give her credit for her not always comfortable frankness.

Winifred Wagner was a self-made woman. And that is something she conveys from her story of her difficult childhood, of how she was orphaned so early, and how she was stumbling around, in an orphanage and with German relatives, until she met Karl Klindworth, who knew Wagner, and who introduced her to the world of Bayreuth and the maestro's family. Thus she entered into the mysterious and peculiar family of the maestro, who despite having died thirty years earlier, continued to influence their lives. Winifred tells us about her early years, the routines of Cosima Wagner and her daughters, in a description from a manual of customs of the time, how the First World War affected the family, which among other things led her to grow potatoes in Wahnfried, to the scandal of many. She also reveals that she had to assist her husband in his work, which kept her away from raising her children. After the Festival reopened in 1924, the atmosphere among the public became increasingly xenophobic and ultra-nationalist. One example is that on one occasion when Winifred had to speak in English, someone reproached her for it, because only German should be spoken at the Festspielhaus. Her closeness to the management of the Festival made her ideally suited to replace her husband after his death in 1930, despite the scepticism of many.

However, the most substantial part is what comes next. Unlike another culturally relevant woman of Nazism, Leni Riefenstahl, who always looked for excuses and knew how to hide what didn't suit her, even lying if necessary, about that period, Winifred Wagner is as sincere as she can. Even in her admiration for Hitler, neither the politician, nor the genocidal, but the man with whom she maintained a beautiful friendship, and who supported the festival with almost unlimited means. During the documentary, Winifred tells things that make us think to what extent that friendship deepened, although she denies any romantic attraction. She was one of the few people who was on first-name terms with the dictator and whom he was on first-name terms with. She tells us of an affectionate relationship, of a Hitler who was truly happy both in the theatre and with Wahnfried, who found in Winifred and his children the family (who called him Wolf) that he would have liked to have. Winifred tells us about the dictator's insane festival routines, waking up at noon and going to bed at dawn. She also tells us about their arguments over each performance. Bayreuth maintained its independence from the clutches of Goebbels and Göring, who controlled the German theatres, but somehow it seemed to please Hitler, if we take into account the arguments they had, at the end of each performance, over the artists and the programming of each festival. She even tells us a curious anecdote: the dictator thought that the wicked Nazi ideologue Alfred Rosenberg, a hunting enthusiast, would give up his hobby after seeing the scene in which Parsifal is captured by the Grail Order after hunting the swan. Rosenberg was not a big fan of Wagner.

But it is from here that the controversy begins, although it must be acknowledged that she used her power to save some Jews and other persecuted people like Max Lorenz, a homosexual married to a Jewish woman; among other cases that would speak in her favor in her denazification process. Winifred Wagner may have been more sincere than Leni Riefenstahl, as has been said before, but like the filmmaker, she only looked out for her interests and did not care about anything else. A very human attitude, even more so taking into account that confronting the Nazis was a suicidal idea, and that the "Aryans" were so well treated that they did not have to worry about the oppressed minorities. Winifred only recognizes that the second half of the war from 1943 was condemnable. It seems that she didn't noticed the 1933 boycott of Jewish businesses by the demonic Sturmabteilung troops,  the 1938 Kristallnacht, even though it also affected Bayreuth: synagogues were attacked and the main 17th-century synagogue was saved from burning because it was close to the Margrave's theatre. Not even the ban on "non-Aryan" music; in fact, she says that she did not care that Mahler's music was banned, because she did not like it. However, her enthusiasm for the Hitler she met in Wahnfried, even after the war, is where her fault lies. Although not everyone had the courage to flee as her daughter Friedelind did, she could well have recognised all the crimes of the regime and distanced herself from it as Wieland did, even though he benefited from it. But, in another human reaction, that of clinging to something or someone that is very dear even if it is something or someone horrible. The fear of losing that reference. Winifred fears losing her attachment to everything beautiful that she knew, even if it was horrible and criminal for other people. Indeed, she mentions that she refers to Hitler in code as "USA" (Unser Selige Adolf, in German "our blessed Adolf").  The documentary doesn't mention it, but it is said that she used to sign some of her letters with an 88 (which means Heil Hitler), or that she was sceptical about the final destination of the famous contralto Ottilie Metzger: Auschwitz, apart from inviting to the Festspielhaus such people linked to Nazism like Hermann Göring's daughter Edda. That is where her guilt lies, even if she only speaks freely about something that many Germans of her generation kept quiet about. Winifred Wagner believed in National Socialism, and although she seems to recognise its errors, she doesn't care too much about them, she remains clinging to it. Even she blames the infamous tabloid owner Julius Streicher, not Hitler, for the antisemitic waves during those years! Streicher was disgusting even to the regime enthusiasts like her. At least, all this shows that this woman's unconditional friendship was a privilege of incalculable value.

This documentary is a valuable testimony to the history of the Bayreuth Festival and Germany, both of which are so closely linked. But like the 1993 documentary on the life of Leni Riefenstahl, it is also a testimony to the human condition, to how to look out only for one's own convenience and to ignore the injustices on other disgraced people. Even more so when this happens in a regime that viciously prosecutes any kind of dissent. A typical attitude in Nazi Germany, but still current in 2024, in our placid and democratic West, while we watch injustices and wars live in our smartphones and televisions.

Essential for any Wagnerian, and for every history enthusiast.

My reviews are not professional and express only my opinions. As a non English native speaker I apologise for any mistake.

Most of the photographs are from the internet and belong to its authors. My use of them is only cultural. If someone is uncomfortable with their use, just notify it to me.

Any reproduction of my text requires my permission. 

The Bayreuth Rings between Barenboim and Janowski: Levine's Götterdämmerung and Thielemann's Walküre.

 

Between 1992 and 2016, there were three productions of the Ring at the Bayreuth Festival, which weren't filmed completely. Three productions, the first one between 1994 and 1998 directed by Alfred Kirchner and conducted by James Levine, the second one between 2000 and 2004 by Jürgen Flimm, conducted in its first year by Giuseppe Sinopoli and the remaining ones by Adam Fischer, because of  Sinopoli's death, and between 2006 and 2010 by Tankred Dorst and conducted by Christian Thielemann. As the Ring, as well as Parsifal, is the icing of the cake for every Bayreuth season, every staging has its complicated working progress and setting, as well as it should offer a new, interesting vision. 

The 1994-1998 Ring directed by Alfred Kirchner became known as the "designer's Ring", because of the plastic artist Rosalie's sets and costumes. Only Götterdämemrung was filmed in 1997, without audience. However, the documentary of the following year 'The Road to Bayreuth' shows some fragments of the entire cycle. It seems a very minimalist, simple Ring, which does not dwell on ideologies or brainy reflections, but tries to do more with less: it tries to be spectacular with the few, but spectacular resources that Rosalie displays on stage. Rosalie and Kirchner show enormous infrastructures that appear to be simple, but  the documentary reveals to be done through a complicated process. The problem is that such minimalist beauty can also be boring. Even if there is a clear influence or similarity to Wieland Wagner's ‘New Bayreuth’ stagings. One recognises on stage the drama that the music is telling us, but the feeling of déjà vu and boredom are present. And it doesn't seem to please much people: ugly for those who want a more traditional option, and boring and classical for lovers of thought-provoking stagings. And one thing that is a problem is the costumes, large, colourful, with armour and enormous hips, or backpacks like those of Alberich or gigantic masks more similar to the Lion King musical that the giants wear on their backs... a costume more typical of cartoons such as Disney's, or the Transformers, or B Sci-fi fiction or a than of a staging worthy of the Festival.

In the documentary, we see excerpts from Rheingold, where a huge screen of blue lights recreating waves dominates the stage, with a round floor, the stage around which the whole cycle takes place, illuminated in blue, and in the centre a huge structure of three wings on which the Daughters of the Rhine play, and in the centre of it an illuminated triangle, which is the Gold. In 1994, the costumes of the Daughters of the Rhine were longer than in 1998. There are also fragments of the finale, showing how they make a rainbow infrastructure with tubes of rows of cubes with lights inside them, and in the background a formless structure of huge poles that are the Walhalla. From Die Walküre, we have the beautiful duet of the gods, again with the huge screen of glowing lights, now sky-blue, and a huge ramp down which the gods walk. We can also see the highlights of the third act: the ride of the Valkyries, in which the Valkyries dance on high, attached to platforms that move constantly throughout the scene. From the finale, we see that the screen of blue lights is now bright red, and Brünnhilde sleeps surrounded by a Magic Fire circle made of bright police siren lights. From Siegfried we only see the Murmurs of the Forest, in one of the most successful moments of the cycle: a sea of green umbrellas recreating the forest and their breeze.

In these excerpts John Tomlinson can be heard, singing a beautiful ‘Abendlich strahlt der sonne auge’, much better than in Barenboim's complete Ring, as well as Richard Brunner in a wonderful Froh a little earlier. In the Act II excerpt from Walküre, Tomlinson is heard again, with Hanna Schwarz as Fricka in a state of grace, even more spectacular in voice than in her legendary recording of Boulez's Ring two decades ago. In the forest murmurs is Wolfgang Schmidt, who sounds best in the first few phrases, with a vigorous, even tender voice, soon to deceive deeply, by making us listen his unpleasant, vociferous vocal timbre in ‘Meine mutter, ein Menschen weib!’

As for Götterdämmerung, once again, Wieland's influence is visible in the second act, reminiscent of his famous 1956 staging. The curtain opens with the spherical stage empty, while the Norns wander about on it, in beekeepers' costumes, with huge arms that fold to shrink. In the background, Loge's red light. In the scene of Siegfried and Brünnhilde, again the rock of the Valkyries represented by a wing-shaped structure that looks like a ship's sail. Brünnhilde wears a rare blue shield with a blue coat of arms that emphasises her breasts. Siegfried, in a pair of trousers with a matching light blue waistcoat, with a boyish attitude rarely seen. The Gibichung's palace is represented by containers suspended in the air, and a pair of thrones on which Gunther and Gutrune sit, the latter resembling a peephole. In Rosalie's words, she is nothing more than an object of exhibition. The most successful part of this staging is the second act, where there is hardly any infrastructure. Hagen, static, appears in absolute emptiness while Alberich walks around him. Then in the second scene, the chorus sets up their spears and surrounds the protagonists, in a nod to Wieland's staging as already mentioned. The third act begins with poles planted, and the stage illuminated in green, and blue, the latter half being where the Daughters of the Rhine move, both dressed in a  tyical nineties's aesthetics, with coloured bows. The finale is a play on light, but equally exciting: the huge screen of lights appears first incandescent red, then blue. The Rhine daughters drag Hagen to the back of the stage and then themselves. A massive pole structure appears in the background, which is Walhalla burning in deep red light. Finally the stage appears empty, with the floor all blue: the waters of the Rhine have returned to their course, and the curtain falls.

James Levine conducts a very powerful Bayreuth Orchestra, with slow tempi, typical of his conducting, but as Thielemann would later do, by using slow tempi that alongside  the spectacular sound of the orchestra,  giving the performance an epic, solemn, tragic dimension.The strings penetrate the ear, shining brightly, the sound of the clarinet in the first act interlude reminded me very much of what I heard in the Tannhäuser performance I attended last August there,, which makes me wonder how far the sound engineering faithfully reconstructs the acoustics, including the spectacular  percussion and brass. The same goes for the chorus: the same chorus that seems to eat up the orchestra as it dialogues with Hagen is able to deliver an incredible pianissimo in ‘Heil dir, Gunther’.

At that time, Deborah Polaski was an important Brünnhilde. The American soprano is at her best, with a spectacular voice, and despite her perhaps slightly dull tone in later years, here the high voice is firm and the sound of the voice quite remarkable. As an actress she is excellent, showing a fragility and bewilderment like few others, in the scene where she enters with Gunther at his wedding. Eric Halfvarson is the other star of the cast, with his dark, well-sung Hagen, which I saw him in at the Royal six years later. As an actor he is even more interesting, with his pale characterisation, and showing a more human Hagen, with a more fragile side, as opposed to the brute we are used to imagine.

The same cannot be said of Wolfgang Schmidt as Siegfried. While it must be acknowledged that the voice is big and remains equally strong, it does not have a pleasant sound. His singing is vociferous, yelling, especially at the highest voice. There is no beauty, only screaming and tough singing.

Falk Struckmann is an excellent, low-voiced and beautifully sung Gunther, and Anne Schwanewilms, at the start of her career, a sweet Gutrune, sung with that peculiar timbre of hers that worked for her fot the following two decades, though it is fair to say there have been better ones in this role. The veteran Hanna Schwarz is a Waltraute with a round, dark, almost contralto voice. The years do not seem to have passed this mezzo who twenty years earlier sang  in the Centenary Ring. Ekkehard Wlaschiha is an Alberich whose massive, vociferous voice suits the unpleasant dwarf.

From the Flimm/Sinopoli-Fischer Ring no complete videos exist, but only a documentary showing the rehearsals, showing some clips of what must have been an interesting staging, specially in Siegfried and Götterdämmerung, by showing distant landscapes. At the end of Götterdämmerung, a child dressed with Parsifal's armour is shown in an empty staging, as if showing the way of redemption.

Why did Opus Arte release only the audio of Thielemann's entire 2008 Bayreuth Ring and not the video of the complete cycle? There are many speculations. One of them is that the staging by Tankred Dorst, who replaced Lars Von Trier at the last minute, did not convince the critics, the artistic guild and, it seems, most of the Bayreuth audiences. It was a staging quite faithful to the Wagnerian myth, judging by the photographs, but with nods to modernity, interspersed in an inconsistent way, according to those who had seen it. Specially, any reason when after seeing this Walküre, filmed in 2010 during a live performance, Siegfried has a first act set in a school, and the rude hero splits in two not an anvil but a globe, or that the Gibichungs scenes are a carbon copy of Patrice Chéreau's staging. Another reason could be that if this was a traditional, but unsubstantial staging, and the only reason to preserve it was Thielemann's baton, this Ring would have too much competition in the market. To preserve Thielemann's performance, there would be enough with the audio. However, having completed four of the last seven productions of the Bayreuth Ring, and leaving aside the two unbeatable productions by Chéreau and Kupfer, this one by Dorst, had it been released in its entirety, could have been an alternative to Castorf's showy and ultra-modern one, and by far better than Schwarz's tedious and soap-operatic one.

Dorst, in an attempt to please everyone, with so little time to prepare the staging and not much opera experience, makes a Valkyrie that in my opinion is beautiful, but that remains just that. And there are intersections of the modern that are not explained. Thus, the first act takes place in a ruined mansion, hit by an electric pole that has fallen on it. A group of people (possibly refugees, as Germany was receiving in those years) flee the place with their suitcases, while a boy lifts a woman's veil, and runs away: it is Sieglinde, who looks dishevelled. Siegmund enters and she, in early 19th century clothes, offers him water. Hunding enters with his entourage, wearing animal masks. Hunding appears dressed as a Prussian or Austro-Hungarian military man. This setting is another nod to Chéreau's.

The second act begins spectacularly: Wotan and Brünnhilde, dressed in costumes taken from the Star Wars trilogy directed by George Lucas in those years, appear on a rock, overlooking the cloud-covered landscape. These clouds give way to a collection of crumbling statues, in a rocky landscape with some green, like the remains of a civilisation in ruins. Two men in ram helmets appear: behind them Fricka enters, wearing a black suit straight out of some cross between Star Wars and a Tibetan monk. When Wotan kills Hunding with a gesture, his henchmen flee.

For the Valkyries' rock in the third act, an imposing rocky landscape, the structure of which resembles either a cave or a ruined factory. To the left of the stage is the German phrase ‘They love life, we love death’. The Valkyries (dressed like their sister) awaken the heroes fallen in battle. The final scene is a success: Wotan and Brunhild bid each other an emotional farewell, and Wotan weeps after putting his daughter to sleep. Then the tip of Wotan's spear lights up and the whole stage fills with smoke and an orange light takes over the scene, creating a spectacular sight to behold, with the curtain falling.

Christian Thielemann's orchestral conducting is spectacular, in contrast to his not very impressing one Berlin of two years ago: with the Bayreuth Festival Orchestra he is like a duck to water, and both achieve a result that might qualify as the best modern Walküre on video, and among the best ones. From the prelude onwards, the orchestra sounds authoritative, with those powerful strings evoking the storm. The wind, with an imposing sound. The cello, creating a cosy feeling in the first scene. The Prelude to Act II and the Ride of the Valkyries exalt the Wagnerian emotions, with a spectacular rendition. Thielemann's tempi are usually slow, but his solemn, grandiloquent style is of the highest level. Once again, thrilling Magic Fire... how beautiful this music is and how well it sounds in Thielemann's baton.

Johan Botha is a Siegmund with a lyrical, beautifullly sung, youthfully-toned, and at the same time vigorous voice, despite some problematic high voice. Undoubtedly, he is the best of a cast that sounded wonderful despite not being among the best of the time. Edith Haller, whom I remember as a great Elisabeth in Tannhäuser in Madrid in 2009, is a Sieglinde with a powerful voice, dramatic timbre, and though she can sound musically monolithic, I find her solemn and tragic for this character living her own tragedy. Kwangchul Youn is an excellent Hunding.

Albert Dohmen is a good Wotan, here at his best, although his voice is beautiful, though not very deep, but sometimes nasal, especially on the u and o vowels, including those with umlauts, which he pronounces gutturally. Still, in the third act he shows his worth as an actor, portraying a furious but at the same time fragile Wotan, and as a singer giving a beautiful version of the final monologue. I have to say that I have to reconsider what I think of Linda Watson: I always found her voice very high-pitched and very dull. But even so, in this video she doesn't sing badly at all and her commitment to the staging and the role is evident, even if physically she looks more like Wotan's wife than his daughter. Mihoko Fujimura is a fine Fricka: not a powerful voice, but with a deep and commanding sound, unlike some of today's mezzos who are rather light. The eight Valkyries are excellent.

The performance ends with an enthusiastic reception by the audience, especially a Thielemann in a state of grace that is not at this level in other recordings of the Ring outside Bayreuth. It is a pity that this Ring is not preserved in its entirety, as there is only one traditional video version, Levine's from the 90s Met. But discography, alas, is also a business and depends on sales. The same could be said of the interesting minimalistic Ring of Levine/Kirchner, but it couldn't compete with the Boulez's and Barenboim's previous ones. Not even the aforementioned Levine Ring from the Met.

Let's hope streaming could help us to preserve the Bayreuth stagings to come in the next decades, as for every Wagnerian, every Bayreuth staging is an interesting world to delve.

My reviews are not professional and express only my opinions. As a non English native speaker I apologise for any mistake.

Most of the photographs are from the internet and belong to its authors. My use of them is only cultural. If someone is uncomfortable with their use, just notify it to me.

Any reproduction of my text requires my permission. 

A luxurious tragedy behind the scenes: Cilea's Adriana Lecouvreur premiere at the Teatro Real.

Madrid, September 28 and 29, 2024.

I cannot find an acceptable reason for why such an opera as Adriana Lecouvreur was not premiered at the Teatro Real until last Monday 23, considering that its world premiere was in 1902. Since then it has been part of the repertoire. In fact, it has been seen at the Liceu in Barcelona (who held the 1903 Spanish premiere) twice in the last twelve years. In Madrid, it may not have been seen since times when the Teatro de la Zarzuela was the city's opera house. In fact, in 1974 it was sung there by Montserrat Caballé and José Carreras, to whom these performances are dedicated. The last time it was performed there was in 1988, featuring Giacomo Aragall as Maurizio. In addition, this year's start of the season has coincided with "Opera Week", when every year a giant screen is set up in the vicinity of the opera house, from where thousands of people can follow the live performance outside. The performance of September 28, apart from the big screen in the Teatro Real square,  has also been broadcasted to various cultural centres throughout the country. 

Based on an 18th century event about the French actress Adrienne Lecouvreur, supposedly poisoned by a jealous duchess because of her love for the aristocrat Maurice of Saxony, Francesco Cilea and Arturo Colautti put music and text to this story, turning it into an opera with beautiful music, whose aria "Io son l'umile Ancella" is part of the concert repertoire of many sopranos. 

David McVicar 's staging  has been seen in many places: London, New York, Barcelona... it has become the reference staging for this opera. A traditional production, with luxurious eighteenth-century costumes by  Brigitte Reiffenstuel , a delight for the sight. McVicar places the action around a huge theatre stage. Behind the scenes, the first act takes place, with a hubbub of artists in old, worn-out dressing rooms, except for Adriana's, which is separated by a curtain. In the background, the performance, with a painted set of a fantastic landscape. The second act is the prince's villa, now in the front part of a luxurious stage with two angels above, and with stairs that lead down to some tables and chairs that serve as a lounge. The third act shows the reception in the villa's great hall. Adriana and Maurizio make their entrance on stage, like the divos of this tragedy. On that same stage, the wonderful ballet takes place with choreography by Andrew George . The final act takes place backstage. With Adriana's death, the actors from the first act appear on stage and take a final bow. The tragedy of Adriana Lecouvreur is over as the curtain falls.

Nicola Luisotti leads the Teatro Real's titular orchestra , which, as usual, he plays at full stamina although he tries to take care of the singers' voices. The first violin in Adriana's first aria sounded beautifully. The orchestra excelled in the beautiful interlude of the second act, but even more so from the orchestral introduction of the fourth act, especially the strings, which shone. The Teatro Real Chorus had a brief participation, but the female chorus had a moment to shine in the ballet scene. 

Two top-notch casts alternate in these 13 performances. 

Ksenia Dudnikova, Manel Esteve and Maria Agresta in the second cast.

I followed the second casting on the 28th live from myoperaplayer, in the comfort of my home, along with thousands of people who watched it in squares and cultural centers. 

Maria Agresta was Adriana, with a dark voice, which seems to have considerable volume, but also a bit screamed, but she acquitted herself well. Matthew Polenzani was Maurizio, with a voice that has a lighter tone, which as it rises, is not so pleasant. His voice is  big-volumed, something I have been able to see from him on other occasions live, but he acts well. Ksenia Dudnikova was a revelation as the Princess: a voice that at least on video seems deep, with a beautiful dark tone, contralto-like, imposing. Magnificent in the second act. Manel Esteve was a Michonnet who earned his salary: his voice on video does not seem so dark, but the singing is good, and what is even better, as an actor he was totally convincing and has good chemistry on stage with Agresta. At the end of the performance he was very applauded and he was moved. Josep Fadó was a funny Abate.

The cast on the 29th was the first, and it featured two world-fame primadonnas. I saw this one at the opera house.

Ermonela Jaho and Brian Jagde in the first cast.

Ermonela Jaho is one of the most beloved divas of the Madrid audience, where she has many unconditional fans. And this is due to her moving performances: Jaho lives them intensely, even to the point of crying on stage if necessary. Her stage ability merges with her vocal means to win over the audience. Her voice is not great, but it is beautiful, and together with her phrasing, her beautiful pianissimos and her sense of drama, all these virtues make her to succeed in the show. She was highly applauded after the famous entrance "Io son l'umile ancella", but she was even better in "Poveri Fiori", where all the virtues that she has to bring out in her former aria, serve to intensify the latter with her stage intensity. 

Finally, Elina Garanča sings in a staged opera in Madrid, after making her debut at the Teatro Real last year with the zarzuela Luisa Fernanda in concert. The Latvian mezzo-soprano is one of the most internationally acclaimed opera divas of the last twenty years. And yet she has rarely appeared in the capital. Garanča has a special chemistry with roles of seductive, explosive women, such as Carmen, Kundry or the wicked Princess of Bouillon, which she has already sang before. Her singing has a velvety, seductive tone, with a spectacular low voice, one of her vocal specialties. Even so, at the beginning of her famous aria "Acerba voluttà" she began a little discrete, but she quickly gained ground, and at the end of the number she brought out her beautiful middle voice. During the duets with Maurizio and Adriana she stole the scene, as well as in the third act. As an actress, she is as seductive as her character, as she is also a very beautiful woman. 

Brian Jagde  sings Maurizio. Jagde has considerable volume, but his singing is uneven. In the first act his voice seemed a bit guttural, but it improved as the performance went on. He has a tone that seems heroic, and the highest range did not seem to cause problems; in fact, in the duets he seemed impressive and certainly sounded better than Polenzani, but in the final words "morta, morta" the high notes got a bit strangled. But that would not detract from an appreciable performance, although in the shadow of the two divas.

Nicola Alaimo was a good Michonnet, with a recognizable command of the character on stage and a good vocal performance. Mikeldi Atxalandabaso was an excellent Abbot, with his beautiful characterful voice and his good acting skills. 

Maurizio Muraro was an entertaining and well-sung Prince of Bouillon in both casts.

This weekend has been a real opera party in Madrid. Both for the casts, and the enthusiasm of the Opera Week that brings the genre to the street, and for the fact of seeing Adriana Lecouvreur for the first time in this theatre. It is a cause for celebration that, perhaps to settle this historical debt, the Real has begun its 2024-2025 season by performing it in style.

My reviews are not professional and express only my opinions. As a non English native speaker I apologise for any mistake.

Most of the photographs are from the internet and belong to its authors. My use of them is only cultural. If someone is uncomfortable with their use, just notify it to me.

Any reproduction of my text requires my permission. 

Tragedia entre lujos y bastidores: triunfal estreno de Adriana Lecouvreur en el Teatro Real.

Madrid, 28 y 29 de septiembre de 2024.

Me cuesta encontrar una razón admisible para que una ópera del calibre de Adriana Lecouvreur no se haya estrenado en el Teatro Real hasta el pasado día 23, teniendo en cuenta que su estreno mundial fue en 1902, y en España, un año más tarde en Barcelona. Desde entonces ha formado parte del repertorio. De hecho, en el Liceu barcelonés se ha visto dos veces en los últimos doce años. Aquí no se había visto desde que el Teatro de la Zarzuela era el teatro de ópera de la ciudad. De hecho, en 1974 lo cantaron allí Montserrat Caballé y José Carreras, y a este último están dedicadas estas funciones. En 1988 se vio por última vez en ese mismo teatro, con Jaume Aragall como Maurizio. Además, este inicio de temporada ha coincidido este año con la "Semana de la Ópera", en que cada año se habilita una pantalla gigante en las inmediaciones del Real, desde donde miles de personas pueden seguir desde fuera la representación de dentro. La función del día 28, además, se ha retransmitido a varios centros culturales por todo el país. 

Basado en un suceso del siglo XVIII, entorno a la actriz francesa Adrienne Lecouvreur, supuestamente envenenada por una duquesa, debido a los amores del aristócrata Mauricio de Sajonia; Francesco Cilea y Arturo Colautti pusieron música y texto a esta historia, convirtiéndola en una ópera de bellísima música, cuya aria "Io son l'umile Ancella" forma parte del repertorio de  muchas sopranos. 

La puesta en escena de David McVicar se ha visto en muchos sitios: Londres, Nueva York, Barcelona... es casi la puesta en escena referencial para esta ópera. Una montaje tradicional, con un lujoso vestuario dieciochesco de Brigitte Reifenstuel, toda una delicia para la vista. McVicar sitúa la a acción en torno a un enorme escenario teatral. En sus bastidores transcurre el primer acto, con una algarabía de artistas en viejos y roídos camerinos, salvo el de Adriana, separado por una cortina. Al fondo, la representación, con un telón de un paisaje fantástico. El segundo acto es la villa del príncipe, ahora en la parte delantera de un lujoso escenario con dos ángeles arriba, y con unas escaleras por las que se desciende, hasta unas mesas y sillas que haen de salón. El tercer acto muestra la recepción en el gran salón de la villa. Adriana y Maurizio hacen su entrada por el escenario, como los divos de una tragedia. En ese mismo escenario tiene lugar el estupendo ballet con coreografía de Andrew George. El acto final transcurre detrás del escenario. Con la muerte de Adriana, sobre el escenario aparecen los actores del primer acto, que hacen un saludo final. La tragedia de Adriana Lecouvreur ha concluído.

Nicola Luisotti está al frente de la Orquesta Titular del Teatro Real, a la que como de costumbre, saca todo el volumen posible, aunque intente cuidar a los cantantes. A destacar el primer violín en la primera aria de Adriana. Se lució la orquesta en el bello interludio del segundo acto, pero aún más desde la introducción orquestal del acto cuarto, especialmente las cuerdas que brillaron. El Coro del Teatro Real tuvo una breve participación, pero el coro femenino tuvo un momento de lucimiento en la escena del ballet. 

Dos repartos de alto nivel se alternan en estas 13 funciones. 

Ksenia Dudnikova, Manel Esteve y Maria Agresta en el segundo reparto.

El reparto del día 28, que fue el segundo, lo seguí en directo desde myoperaplayer, en la comodidad de mi casa, junto a miles de personas que lo vieron en plazas y centros culturales. 

Maria Agresta fue Adriana, con una voz más oscura, que se antoja con un considerable volumen, pero también vociferante, pero se defendió bien. Matthew Polenzani fue Maurizio, con una voz que tiene un timbre más ligero, que a medida que suba, no es tan agradable. De volumen va sobrado, es algo que le he podido comprobar otras veces en vivo, pero actúa bien. Ksenia Dudnikova fue toda una revelación como la Princesa: una voz que al menos en vídeo parece gruesa, de bello timbre oscuro, de contralto, imponente. Magnífica en el segundo acto. Manel Esteve fue un Michonnet que se ganó el sueldo: su voz en vídeo no parece tan grave, pero el canto es bueno, y lo que es mejor aún, que como actor fue totalmente convincente y tiene buena química en escena con Agresta. Al final de la representación fue muy aplaudido y se emocionó. Josep Fadó fue un divertido Abate.

El reparto del día 29 fue el primero, y que contaba con dos primadonnas con todas las letras. Este lo vi en el teatro.

Ermonela Jaho y Brian Jagde en el primer reparto.

Ermonela Jaho es una de las divas más queridas del público madrileño, donde tiene a muchos incondicionales. Y eso se debe a lo intenso de sus interpretaciones: Jaho las vive intensamente, llegando incluso a llorar en escena si es necesario. Su habilidad escénica se fusiona con sus medios vocales para meterse al público en el bolsillo. Su voz no es grande, pero es bella, y unida a su fraseo, su bellísimos pianissimos y su dramatismo, hacen que saque adelante la función. Muy aplaudida estuvo tras la famosa entrada "Io son l'umile ancella", pero aún mejor estuvo en "Poveri Fiori", donde todas las virtudes que tiene que sacar en su primera aria, Jaho las intensifica con su intensidad en escena en la segunda. 

Finalmente, Elina Garanča canta una ópera escenificada en Madrid, tras debutar en el Real el año pasado con una Luisa Fernanda en concierto. La mezzosoprano letona es una de las divas operísticas más aclamadas internacionalmente en los últimos veinte años. Y aun así poco se ha prodigado en la capital. Garanča tiene una química especial con roles de mujeres seductoras, explosivas, como Carmen, Kundry o la perversa Princesa de Bouillon, que ha interpretado ya antes. Su canto tiene un timbre aterciopelado, seductor, con un grave espectacular, una de sus especialidades vocales. Aun así, al principio de su famosa aria "Acerba voluttà" parecía un poco destemplada, pero rápidamente ganó enteros, y al final del número sacó a relucir su bellísimo centro. Durante los dúos con Maurizio y Adriana se robó la escena, así como en el tercer acto. Como actriz, es tan seductora como su personaje, ya que además es una mujer bellísima. 

Brian Jagde interpreta a Maurizio. Jagde tiene un volumen considerable, pero el canto es irregular. En el primer acto la voz parecía un poco  gutural, engolada, pero fue mejorando conforme pasaba la función. Tiene un timbre que parece heroico, y la zona más aguda no parecía dar problemas, de hecho en los dúos parecía impresionante y desde luego sonaba mejor que la de Polenzani, pero en el "morta, morta" final sí que el agudo se le estranguló. Pero eso no desmerecería una función apreciable, aunque a la sombra de las dos divas.

Nicola Alaimo fue un buen Michonnet, con un reconocible dominio del personaje en lo escénico y cumplidor en lo vocal. Mikeldi Atxalandabaso fue un excelente Abate, con su bella voz de carácter y su buen nivel actoral. 

Maurizio Muraro fue un divertido y bien cantado Príncipe de Bouillon en ambos repartos.

Este fin de semana ha sido una auténtica fiesta operística en Madrid. Tanto por los repartos, como el entusiasmo de la Semana de la Ópera que acerca el género a la calle, como por el hecho de ver Adriana Lecouvreur por primera vez en este teatro. Es motivo de celebración el que, quizá para saldar esa deuda histórica, el Real haya comenzado su temporada 2024-2025 reprresentándola por todo lo alto.

Las fotografías y vídeos no son de mi autoría, si alguien se muestra disconforme con la publicación  de cualquiera de ellas en este blog le pido que me lo haga saber inmediatamente. Cualquier reproducción de este texto necesita mi permiso.

ESP/ENG: Fidelio en Madrid: Comienza la temporada de la Orquesta Nacional de España.

 

For English, please scroll down.

Madrid, 20 de septiembre de 2024.

La nueva temporada de la Orquesta y Coro Nacionales de España comienza con un título querido por el público: Fidelio, la única ópera de Ludwig van Beethoven. En un principio se iba a hacer en 2020, pero la pandemia lo impidió. Ahora llega al Auditorio con las entradas agotadas para las dos únicas funciones, el 20 y el 22 de septiembre. 

Si hay algo con lo que se identifica a esta ópera, es la palabra libertad, un concepto hoy en día prostituído por diferentes intereses políticos, para descalificar al bando contrario, usado para campañas políticas en lugar de defender lo que realmente quiere decir. El deseo de libertad se respira en la obra, expresado en la aventura de Leonora, convertida en un hombre, Fidelio, para rescatar a su marido, Florestán, injustamente preso, por denunciar los abusos del gobernador Pizarro. También en los presos, que emocionados por permitírseles salir a tomar el aire fresco y la luz del sol, cantan emocionados a la anhelada libertad.  Aunque Beethoven, tras ver La Flauta Mágica, tuvo interés en componer óperas, solo pudo componer una, porque sentía que no podía ponerle música a cualquier argumento. Y pasó por dos ediciones, cuyos estrenos no fueron fáciles, hasta que con la tercera alcanzó el éxito definitivo en 1814. Se dice que tiene la fuerza de una sinfonía, que no es una ópera cualquiera. Y ciertamente, el final de la obra anuncia ya el mensaje de fraternidad de la Novena Sinfonía. 

En la ocasión que nos ocupa, David Afkham, el maestro titular de la orquesta, ha realizado una labor encomiable al frente de la misma; con una interpretación ágil, de espectacular sonido y un dinamismo ideal para este repertorio. Las cuerdas brillantes como siempre, igual que las trompas, y todo el viento en el segundo acto, y la percusión. Igualmente bien dirigido el coro con dos voces solistas impecables. Memorable el número del coro de prisioneros, iniciado por las cuerdas que describen la luz y el aire que respiran al salir del mundo de las sombras que son sus celdas, fusionándose luego con las voces en un canto por la vida.

El reparto estuvo a un nivel por debajo de la impresionante orquesta, verdadera protagonista de la velada.

Eleanor Lyons es fue una Leonore/Fidelio bien cantada aunque desde una aproximación más lírica que dramática. Maximilian Schmitt fue un Florestan de potente voz, seguramente resistente, pero de sonido no tan grato, que además tuvo algún problema con la tesitura más aguda de su gran escena del segundo acto. Peter Rose, bajo veterano y que ha participado en múltiples grandes producciones, fue un buen Rocco, de potente y forme voz. Werner van Mechelen, también un solista que ha cantado incluso en Bayreuth, fue un correcto Pizarro. Elena Sancho fue una dulce y muy ligera Marzellina, quien abordó bien su aria del primer acto. Roger Padullés fue un bien cantado Jaquino. Matthias Winckhler fue un excelente Don Fernando, con una potente, bella, con un apreciable grave voz de bajo-barítono, a seguir. 

Para esta ocasión, en lugar de los diálogos en alemán, se apostó por usar la narración del actor Joaquín Notario, para contar al público las acciones, los sentimientos y emociones de los personajes, así como alguna introducción de la obra. Notario estuvo estupendo, pero habría preferido ver los diálogos subtitulados en español, en favor de una mayor cohesión dramática. Aun siendo una versión de concierto, se recurrió al concepto escénico de Helena Pimenta, quien hizo que las luces de la sala se apagasen, y se centrasen en la orquesta. Los cantantes iban vestidos de negro, con un brazalete rojo. En la escena final, las luces en torno al coro se iluminaron de blanco, señal de libertad.

No podemos imaginar mejor comienzo de temporada que este Fidelio tan apasionadamente interpretado por una orquesta que ha sabido transmitir, la fuerza de la música que narra esta historia de amor y libertad.

ENGLISH

Fidelio in Madrid: The Spanish National Orchestra 2024-2025 begins.

Madrid, September 20, 2024.

The new season of the  Spanish National Orchestra and Choir begins with a beloved title by the audience: Fidelio, the only opera by Ludwig van Beethoven. It was originally going to be performed in 2020, but the pandemic prevented it. Now it arrives at the Auditorio Nacional de Música, with sold-out tickets for the only two performances, on September 20 and 22.

If there is something with which this opera is identified, it is the word "freedom", a concept today prostituted by different political interests, to disqualify the opposing side, used for political campaigns instead of standing for what it really means. The desire for freedom can be breathed throughout the work, expressed in the adventure of Leonore, disguised as a young man, Fidelio, to rescue her husband, Florestan, unfairly imprisoned, for denouncing the abuses of Governor Pizarro. The same applies to the prisoners, who, excited to be allowed to go out into the fresh air and sunlight, sing excitedly of their longed-for freedom. Although Beethoven, after seeing The Magic Flute, was interested in composing operas, he was only able to compose one, because he felt that he could not put music to just any plot. It went through two first versions, whose premieres were troubled, until the third final one, which achieved definitive success in 1814. It is said that it has the strength of a symphony, which is not just any opera. Certainly, the Finale already announces the message of fraternity of the Ninth Symphony's Ode to Joy.

On this occasion, David Afkham, the principal conductor of the orchestra, has done an outstanding job with the orchestra; through an agile interpretation, spectacular sound and a dynamism ideal for this repertoire. The strings were brilliant as always, as were the horns, and all the woodwind and brass in the second act, as well as the percussion. The choir was equally well mastered with two impeccable solo voices. The number of the prisoners' choir was memorable, started by the strings that describe the light and air they start to breathe when they leave the world of shadows which are their cells, then merging with the voices in a song for life.

The cast was at a level below the impressive orchestra, the true protagonist of the evening.

Eleanor Lyons was a well-sung Leonore/Fidelio, although from a more lyrical than dramatic approach. Maximilian Schmitt was a Florestan with a powerful voice, certainly resistant, but with a not so pleasant sound, who also had some problems with the higher tessitura of his great scene in the second act. Peter Rose, a veteran bass who has participated in many large productions, was a good Rocco, with a powerful and form voice. Werner van Mechelen, also a soloist who has even sung in Bayreuth, was a correct Pizarro. Elena Sancho was a sweet and very light Marzellina, who handled her aria from the first act well. Roger Padullés was a good Jaquino. Matthias Winckhler was an excellent Don Fernando, with a powerful, beautiful, and appreciable deep bass-baritone voice, to follow.

For this occasion, instead of the dialogues in German, the decision was made to use the narration of the actor Joaquín Notario, to tell the audience about the actions, feelings and emotions of the characters, as well as some introduction to the work. Notario was great, but I would have preferred to see the dialogues subtitled in Spanish, in favor of greater dramatic cohesion. Even though it was a concert version, there was a stage concept by Helena Pimenta, who made the lights turned down in most of the hall, and focus on the orchestra. The singers were dressed in black, with a red armband. In the final scene, the lights around the choir were lit in white, a sign of freedom.

We cannot imagine a better start to the season than this Fidelio, performed so passionately by an orchestra that has been able to transmit the power of the music that tells this story of love and freedom.

Las fotografías no son de mi autoría, si alguien se muestra disconforme con la publicación  de cualquiera de ellas en este blog le pido que me lo haga saber inmediatamente. Cualquier reproducción de este texto necesita mi permiso.

My reviews are not professional and express only my opinions. As a non English native speaker I apologise for any mistake.

Most of the photographs are from the internet and belong to its authors. My use of them is only cultural. If someone is uncomfortable with their use, just notify it to me.

Any reproduction of my text requires my permission.

A recital to remember, with a Peruvian flavour: Juan Diego Flórez and his youth orchestra at the Teatro Real.

Madrid, September 19, 2024.

In Peru, Juan Diego Flórez has the status of almost a national hero or even a prince. Many Peruvians are proud of this 51-year-old tenor who is upholding the Peru brand to the highest level worldwide. His fame is so big that even his wedding with Julia Trappe in the Lima Cathedral was telecasted in Peruvian Television, like a royal one in a republican country.  I still can remember my great aunt receiving me at her home playing an álbum of Peruvian songs by him.  His rendition of the national anthem, as well as his covers of traditional waltzes (like La Flor de la Canela, sung in most of his tours), huaynos and even some songs of "Black music" (a musical genre sung by African-Peruvian singers), are very celebrated. He has sung with local music stars, and even in front of the Peruvian president Manuel Vizcarra.  In addition, he sang as the Duca in a Rigoletto staging, in the first edition of the Granda Festival, the only one in the country able to produce international casts and stagings.

But he is not only known there for being just a musical and social celebrity. He is the founder of a youth orchestra, the Sinfonía por el Perú. Inspired by the Venezuelan "Sistema" who has toured with Gustavo Dudamel, this orchestra is an opportunity for children, teens and youngsters, mostly from the working class, to develop in music and to have an education, skipping misery. Like the Venezuelan orchestra, they have toured in several European cities (specially Vienna), with Flórez. This year, they are touring Madrid, Barcelona, Paris, Geneva and Vienna, with a program including Italian, French opera, Zarzuela (which he has recording an album with this orchestra) and Latino songs.

Part One:

BELLINI: Overture from Norma.

O di Capellio… È serbata a questo acciaro… L’amo tanto e m’è sì cara, fro. I Capuleti e i Montecchi

DONIZETTI: Ed ancor la tremenda porta.... Come uno spirito angelico... Bagnato il sen di lagrime, from Roberto Devereux.

Inosservato penetrava... Angelo casto e bel, from Il Duca d’Alba.

VERDI: Ouverture from La forza del destino.

L'émir auprès de lui m’appelle... Je veux encore entendre, from Jerusalem.

Part Two: 

GOUNOD: Entracte and L’amour!... Ah, lève-toi, soleil, from Roméo et Juliette.

OFFENBACH: Can-Can from Orphée aux enfers.

Au mont Ida, from La belle Hélène.

CHAPÍ: Prelude from  La revoltosa

JOSÉ SERRANO: Al mismito rey del moro, from La alegría del batallón.

PABLO LUNA: Mi locura… Paxarín tú que vuelas, from La pícara molinera

RAVERIANO SOUTULLO & JUAN VERT: Bella enamorada, from El último romántico

GERÓNIMO GIMÉNEZ Intermezzo from La boda de Luis Alonso.

AGUSTÍN LARA: Granada.

The first part began with a repertoire in which Flórez is on home soil, the belcanto. His voice is no longer what it was twenty years ago, but only because he sings now a repertoire for slightly larger voices. It is as beautiful as usual. He still has that youthful voice, that overflowing elegance, aristocratic, gallant demeanor, and his beautiful high notes. After a beautiful intervention in the scene from I Capuletti e i Montecchi,then the great scene from Roberto Devereux came, where he gave his all, with beautiful singing, which he also complemented with some dramatic gestures, and moving around the stage. In fact, he gave a very beautiful interpretation of Come uno spirto angelico. This was followed by an equally beautiful version of Angelo Casto e Bel, from Il duca d'Alba. He ended this first half of the concert with Verdi, the aria from Jerusalem, which was a weak point, since the volume and tessitura caused him some difficulties.

However, it was from the second part onwards that the concert became truly unforgettable and he won  the audience over. He began it, after the orchestral introduction, with a delightfully sung version of "Ah, lève-toi soleil" from Gounod's Roméo et Juliette. He continued with a funny rendition of the aria "Au mont Ida" from Offenbach's operetta "La Belle Helène", which he not only sang well, revealing himself to be interesting for this genre, but also made the audience laugh with a comic side that they had not seen before, in the phrase "un jeune homme Irais et beau, c'est moi". Then it was the turn of the zarzuela and audience reached ecstasy, as expected. First with the beautiful "Al mismito rey del moro", and then with "Bella enamorada", both sung with grace and devotion, which also reveal a pleasant ease in for Zarzuela, expecting more approaches. The concert ended with a popular song, whose performance is much celebrated: Granada. Although the orchestra seemed to turn up the volume a little, as in "Paxarín que tú vuelas", which sometimes covered the tenor, Flórez sang this piece with enough charm and enough gallant phrasing to win the audience over.

If the second part had delighted the audience, the five encores, drove the audience to rapture. As expected, Flórez appeared with his guitar. After the usual ovations, including cheers for Peru and requests for him to play this or that piece, he finally started with Paloma Querida, by José Alfredo Jiménez, followed by Que nadie sepa mi sufrir. Both pieces were sung with sensitivity, like a whisper, with which he usually tackles these pieces. Then came a piece in which he sang at the top of his voice, the famous Peruvian waltz La Flor de la Canela. With each encore the audience was more and more ecstatic. His last encore was the famous Nessun Dorma from Turandot, a piece that he sings very well (the entire opera would a different matter), and it was a very moving moment for many people in the audience.

The Peruvian orchestra, conducted by Colombian maestro  Ana María Patiño-Osorio,  surprised everyone, demonstrating their level, which only got better and better. They started with the Norma Overture, which served to warm up (those orchestral beats were more mitigated than firm), although the flute already stood out for its beautiful sound. However, after the great scene by Roberto Devereux, it was a different story: there the brass surprised with its powerful sound, and the clarinet had a beautiful sound in the aria. In the La Forza del Destino Overture, the clarinet was so brilliant that it received with an ovation after the conclusion of the piece, as were the strings, which were already sounding better and better. The intermission before the Romeo and Juliet aria was charming. But it was in the zarzuela performances where they won over the audience. First, in the overture of La Revoltosa, with a spectacular sound, but especially the tremolo of the violins before being followed by the viola, the cellos and the brass. In fact, in the romance of La Pícara Molinera, the concertino was sensational. Again the strings, and the whole orchestra were memorable in the intermezzo from La Boda de Luis Alonso. It was evident that they were dealing with a repertoire that they knew, and particularly because they had recorded these pieces on Flórez's zarzuela album. The only encore of the orchestra alone was El Condor Pasa, which was very well performed.

Once again, Flórez confirmed himself as one of the favourites of the Madrid operagoers, with almost all tickets sold and with many Peruvians among the audience. He received ovations, cheers and praise for himself, for the orchestra and even for Peru. The musical project that he has sponsored has confirmed its good level in the memorable concert tonight, giving us a recital with a Peruvian flavour. At the end of the concert, various Flórez albums were being sold, especially the recent zarzuela one, and there was a queue for the tenor to sign autographs, CDs and even to take photos. An evening to remember.

My reviews are not professional and express only my opinions. As a non English native speaker I apologise for any mistake.

Most of the photographs are from the internet and belong to its authors. My use of them is only cultural. If someone is uncomfortable with their use, just notify it to me.

Any reproduction of my text requires my permission. 

Una noche inolvidable, con sabor peruano: Juan Diego Flórez y Sinfonía por el Perú en el Teatro Real.

 

Madrid, 19 de septiembre de 2024.

En Perú, Juan Diego Flórez tiene el estatus casi de un héroe nacional, es un un orgullo patrio. Todos los peruanos están orgullosos de este tenor de 51 años que lleva tres décadas llevando el nombre del país por lo alto. Tal es su fama que hasta la televisión nacional peruana retransmitió en directo su boda con la alemana Julia Trappe en 2007 en la Catedral de Lima, como si fuera un miembro de la realeza que el país republicano no tiene. Muy celebradas allí son sus versiones del Himno Nacional, así como canciones peruanas (valses criollos, huaynos y hasta canciones de música negra) y latinoamericanas. Algunas de ellas son las  mismas que pasea por los escenarios europeos con su guitarra en múltiples conciertos en los últimos años. El famoso Festival Granda, el único que lleva al país producciones de ópera con elencos de talla internacional, inició en 2008 con unas representaciones de Rigoletto, en las que Flórez interpretó al Duque de Mantua. Y las ediciones en las que canta él, son las más celebradas. También ha cantado en conciertos en sitios como el Estadio Nacional de Lima, o en la Plaza de Armas de la capital peruana, acompañado de las figuras musicales más relevantes del país, y cantando incluso ante el presidente de la república. Aún recuerdo cuando tenía 18 años, en una visita a Lima, mi tía abuela, al enterarse que me gustaba la ópera, me recibió un día con música de Juan Diego Flórez cantando canciones latinas y peruanas. Tal es su fama.

Pero Flórez no es solo una celebridad musical y social en el país andino. También es conocido y admirado por ser el artífice de un proyecto artístico, la Orquesta Sinfonía por el Perú. Se trata de una orquesta sinfónica juvenil que apuesta por la enseñanza colectiva a través de la música, reuniendo a jóvenes de todo el país, para que puedan desarrollarse y labrarse un futuro; a inspiración del "Sistema" venezolano fundado por José Antonio Abreu, conocido por la orquesta que Gustavo Dudamel ha llevado de gira por Europa. Y también a imitación de la orquesta venezolana, la Sinfonía por el Perú ha acompañado a Flórez en varios de sus recitales por el viejo continente. Este año emprenderán una gira por Madrid, Barcelona, París, Ginebra y Viena. Además, recientemente el tenor y esta orquesta han grabado un disco dedicado a la zarzuela, el primero del sello discográfico que ha fundado recientemente.

Para el concierto de esta noche, el programa abarca desde obras de belcanto, el repertorio especialidad del tenor, hasta repertorio francés, Verdi, y zarzuela.

Parte I

VINCENZO BELLINI :Obertura de Norma.

O di Capellio… È serbata a questo acciaro… L’amo tanto e m’è sì cara, de I Capuleti e i Montecchi

GAETANO DONIZETTI: Ed ancor la tremenda porta.... Come uno spirito angelico... Bagnato il sen di lagrime, de Roberto Devereux.

Inosservato penetrava... Angelo casto e bel, de Il Duca d’Alba.

GIUSEPPE VERDI : Obertura de La forza del destino y L'émir auprès de lui m’appelle... Je veux encore entendre, de Jerusalem

Parte II 

CHARLES GOUNOD ; Entreacto de Romeo y Julieta, L’amour!... Ah, lève-toi, soleil, de Roméo et Juliette.

JACQUES OFFENBACH : Can-Can de Orphée aux enfers y Au mont Ida, de La belle Hélène.

RUPERTO CHAPÍ : Preludio de  La revoltosa

JOSÉ SERRANO : Al mismito rey del moro, de La alegría del batallón.

PABLO LUNA : Mi locura… Paxarín tú que vuelas, de La pícara molinera

RAVERIANO SOUTULLO Y JUAN VERT: Bella enamorada, de El último romántico

GERÓNIMO GIMÉNEZ : Intermedio de La boda de Luis Alonso

AGUSTÍN LARA : Granada

Bises

Paloma Querida

Que nadie sepa mi sufrir

La Flor de la Canela

El Cóndor Pasa (orquesta)

PUCCINI: Nessun Dorma, de Turandot.

La primera parte empezó con un repertorio en el que Flórez juega en casa, el belcanto. La voz ya no será la de hace veinte años, pero solo que ahora canta un repertorio para voces un poco más grandes. Sigue siendo igualmente bella. Sigue ahí esa voz de timbre juvenil, ese porte desbordante de elegancia, aristocrático, gallardo, y sus bellos agudos. Tras una bella intervención en la escena de I Capuletti e i Montecchi, vino la gran escena de Roberto Devereux, donde se entregó más, con un bello canto, que además complementó con algunos ademanes dramáticos, y moviéndose en escena. De hecho, dio una muy bonita interpretación de Come uno spirto angelico. Le siguió una versión igualmente bella de Angelo Casto e Bel, de Il duca d'Alba. Terminó esta mitad del concierto con un Verdi, el aria de Jerusalem, que  fue un punto flojo, ya que el volumen y tesitura le supusieron algún que otro apuro.

Sin embargo, sería a partir de la segunda parte cuando el concierto se convertiría en francamente inolvidable y el teatro se vendría abajo. La empezó, tras la introducción orquestal, con una deliciosamente cantada versión de "Ah, lève-toi soleil" del Roméo et Juliette de Gounod. Siguió con una divertida interpretación del aria  "Au mont Ida"de la opereta de Offenbach "La Belle Helène", que no solo cantó bien, revelandose como interesante para este género, sino que además hizo reír al público con una vis cómica que antes no había visto, en la frase "un jeune homme Irais et beau, c'est moi". Luego llegó el turno de la zarzuela y fue el delirio, como era previsible. Primero con la bellísima "Al mismito rey del moro", y luego con "Bella enamorada", ambas cantadas con gracejo, y entrega, que revelan también una agradable desenvoltura en nuestro género. El concierto terminó con una popular canción, cuya interpretación es muy celebrada: Granada. Aunque la orquesta parecía subir un poco el volumen, como en "Paxarín que tú vuelas", lo que a veces tapaba al tenor, Flórez cantó esta pieza con el suficiente encanto y el suficiente fraseo galante como para meterse al público en el bolsillo.

Y si la segunda parte había deleitado al público, aún quedaban los previstos bises, que fueron cinco, en los que el respetable fue llevado al delirio. Como era previsible, Flórez apareció con su guitarra. Tras las ovaciones de turno, con vivas a Perú y peticiones de que toque tal o cual pieza, finalmente se arrancó con Paloma Querida, de José Alfredo Jiménez, a la que siguió Que nadie sepa mi sufrir. Ambas piezas fueron acometidas con la sensibilidad, como un susurro, con las que suele acometer estas piezas. Luego llegó una pieza en la que cantó a plena voz, el famoso vals La Flor de la Canela. Con cada propina el público estaba cada vez más extasiado. Finalmente se despidió con el Nessun Dorma de Turandot, una pieza que canta muy bien (otra cosa sería la ópera entera), y fue un momento muy emocionante para muchos.

La orquesta peruana, dirigida por la maestra colombiana Ana María Patiño-Osorio, sorprendió a propios y ajenos, demostrando su nivel, que fue a más. Empezaron con la Obertura de Norma, la cual sirvió para entrar en calor (esos golpes orquestales más acolchados que secos), aunque ya entonces la flauta destacó por su bello sonido. Sin embargo, a partir de la gran escena de Roberto Devereux, ya fue otra cosa: ahí el metal sorprendió por su poderoso sonido, y el clarinete tuvo un precioso sonido en el aria. En la Obertura de La Forza del Destino fue donde ese clarinete tuvo un lucimiento tal que se saldó con una ovación, así como las cuerdas que ya sonaban cada vez mejor. El entreacto previo al aria de Romeo y Julieta fue encantador. Pero fue en las interpretaciones de zarzuela donde se metieron al público en el bolsillo. Primero en la obertura de La Revoltosa, con un sonido espectacular, pero muy en especial el trémolo de los violines antes de ser respondidos por la viola, los violonchelos y el metal. De hecho, en la romanza de La Pícara Molinera, el concertino estuvo sensacional. De nuevo las cuerdas, y toda la orquesta estuvieron memorables en el intermedio de La Boda de Luis Alonso. Era evidente que estaban ante un repertorio que conocían, y particularmente por haber grabado estas piezas en el álbum de zarzuela de Flórez. El único bis de la orquesta en solitario fue El Condor Pasa, muy bien interpretado.

Una vez más, Flórez se confirmó como uno de los favoritos del público madrileño, con casi todas las entradas vendidas y con muchos peruanos entre el público. Recibió ovaciones, vivas  y loas hacia su persona, y también hacia la orquesta e incluso hacia Perú. El proyecto musical que ha apadrinado ha mostrado su nivel en el memorable concierto de esta noche, dejándonos un recital con sabor peruano. Al terminar el concierto, se vendían discos varios de Flórez, especialmente el de zarzuela, y hubo una cola para que el tenor firmase autógrafos, discos y se hicieran fotos. Una velada memorable, que tenemos ganas de que se repita más pronto que tarde. 

Las fotografías y vídeos no son de mi autoría, si alguien se muestra disconforme con la publicación  de cualquiera de ellas en este blog le pido que me lo haga saber inmediatamente. Cualquier reproducción de este texto necesita mi permiso.