Madrid, October 25, 2022.
Despite the 2022-2023 Teatro Real operatic season began with Glass' Orphée at the Teatros del Canal, the season starts officially in its majestic building with Verdi's Aida, in a lavish, peplum-styled staging, revived for a third time after its comeback in 2018, now in a collaboration with the Abu Dhabi Festival. The opening performance of the current season has been attended by Their Majesties, the King and Queen of Spain, alongside the Madrid jet-set, in a gala with an exorbitant cost per seat, rivalising with few major operatic houses in Europe.
However, the young people Under 35 could attend the Preview of the first cast four days before, on October 21, in a successful event in order to introduce youth into opera, to renew the audiences. In many cases, they have studied music before, in others, they just have fun, but every effort is welcome for this purpose. I could never forget that thanks to the Teatro Real's Youth policies, the best in the operatic world, I built myself as opera-goer for 21 years....
Hugo de Ana's staging, is really spectacular, very fit for conservative tastes, and merges technology and lavish sets, costumes and props to recreate Ancient Egypt on stage. Despite its bad reviews, the madrileño audience could consider themselves as fortunate, comparing this production with the deconstructive, decolonisating one by Lotte de Beer in Paris, or the recent one in London, setting it in modern and totalitarian state. I spoke about this staging in my 2018 review, which happened to be my first one in English language, but I will speak again about it after I see the performance with Anna Netrebko next Sunday.
Nicola Luisotti conducted the Teatro Real Orchestra in a full of grace state. Luisotti's baton made the orchestra sound magic, powerful, with an enrapturing performance of the strings during the prelude. During the rest of the show it maintained a dramatic, dynamic tension, agile, vivid tempi, delving into Verdi's sense of theatre. Woodwind and Brass had a glorious night with flute shining during the Priestesses' dance in Act 1 or the Act 3 opening, as well as the brass in the final tutti in Act 2, the best orchestral moment in the night. The Chorus was at its usual great level, with the male section in a powerful, impressive singing and projection, so enthusiastic they sound in Act 1, Guerra, Guerra, Guerra, as well in their famous Act 2 scene.
As Aida, Krassimira Stoyanova makes at last her debut in the Teatro Real (she was to sing Desdemona in 2016, but she cancelled and was replaced by Ermonela Jaho), aged 60. Stoyanova is an exquisite singer (hints of her musicality are still very present), and as actress she is histrionic, with dramatic gestures in some scenes. Her low notes are beautiful, and one can taste her musicality in the piano voice, but in some parts, the singing seems a bit tired and nasal. Very remarkable her piano singing in Ritorna Vincitor, as well as an unforgettable rendition in Act 3, as well as her beautiful pianissimi in the final duet.
Piotr Beczała returns to Teatro Real after his 2018 Faust. A heroic Radamès, he has sung it in Salzburg last summer. The Polish tenor has a powerful voice, making his voice to be heard throughout the hall, in a vigorous singing despite his nerves during the Celeste Aida, like every tenor. In the rest of the show he sang comfortably and heroically. An elecrifying moment was the final line in Act 3, "Sacerdote, io resto a te", and he, alongside Stoyanova, was splendid in the final duet.
Jamie Barton was a great Amneris. With a tone, which sometimes reminds Marilyn Horne, this American soprano has an amazing low register and a grave, velvet-like singing, despite the voice sometimes lacked volume, being more suitable to belcantist repertoire than this role. As actress she is very skilled, and her final scene was simply unforgettable for conveying Amneris' despair very convincingly and did really amazed the audience with her passionate singing.
Alexander Vinogradov was a fine Ramfis, despite I liked him better in Nabucco last summer. Carlos Álvarez was an Amonasro depicted as noble, aristocratic despite his miserable state, with a fine, elegant singing.
Deyan Vatchkov as the King of Egypt had a correct low voice, but he lacked volume. Marta Bauzá as the Priestess had a nice singing and Fabián Lara as the Messenger was excellent.
During the Intermission, four trumpeters disguised as Egyptians, suprisingly performed the Triumphal March in the lobby, which was a true surprise. After the show, a party (for which it was necessary to buy a ticket) was given to the young attendees. In the lavish salons, we were given a beer and two small but consistent wraps, before entering to the big restaurant, well-known in the city, in which a DJ played music and most of people dance and had their drinks very cheerfully.
A celebration of opera and youth. The Teatro Real hopes to renew the audience in the future. As I mentioned before, many of the attendees were familiar with opera because of their studies or their familiaity at home. In addition, times are changing. In these performances, I have noticed that the woos and whistles are replacing the bravos from the elder audiences. They showed how ovationed was the performance (despite being the dress rehearsal). Few times before my ears have had such an intense vibration, like at hearing them in this preview.
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.
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