viernes, 10 de mayo de 2019
Falstaff in Teatro Real, Madrid. May 7, 2019.
Daniele Rustioni conducted the Teatro Real Orchestra with comical pulse, but not as scintillating as could be hoped from this opera. The orchestra improved as the performance was going by, and in third act it reached a good balance, with a mystical sound of the strings. The Chorus did a brief but fantastic performance, as usual.
The performance was sung by the second cast, being at a good level with some surprises.
Misha Kiria was revealed to be a well sung Falstaff, despite the voice could be a bit light for the role. His acting was excellent, both for his suitable physique-du-rôle like his humorousness. Ángel Ódena returns to Teatro Real with his powerful and big voice, and his scenical authority, quite acclaimed (in 2016 he was an unforgettable Iago in Alden's Otello and an amazing Germont in 2015) here. However, Ford is few role for such a voice, sounded quite loud for this character. One can't help to think of what Leo Nucci could do in his place. Albert Casals has a nice voice, but not enough for Fenton: he has some difficulties in high notes, and in the Act 3 aria he lacked some volume. A pity taking in account his good middle register and his adequate profile. The male supporting roles were well served, with Valeriano Lanchas with a deep dark bass voice as Pistola and the always accomplished Mikeldi Atxalandabaso as Bardolfo and Christophe Montaigne as Dr. Cajus.
As for the women, Teresa Iervolino was a sensation as Mrs. Quickly, with a beautiful and seductive mezzo-soprano voice and a great low contralto notes. Rocío Pérez was a nice Nannetta both physically and musically, despite being sometimes lacking a bit volume. Raquel Lojendio has a nice voice and better acting as Mrs. Ford and Gemma Coma-Alabert did well her part as Mrs. Page.
My reviews are not professional and express only my opinions. As a non English native speaker I apologise for any mistake.
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