Doom as price for being an independent woman: Massenet's Manon in Oviedo.

Oviedo, September 16, 2023.

The operatic season begins in Spain, and the Oviedo Opera starts its 2023-2024 season with a classic title from the French repertoire, although rare in recent years in our country: the delicious Manon by Jules Massenet. The story of Abbé Prévost tells the adventures of a woman who, in her time considered a libertine, in line with the author's intention to warn young women not to stray from righteous path, but  today inspires us admiration and compassion at the same time: Since by choosing to be independent and decide his destiny, he has a tragic end. Throughout its five acts, we witness the fascinating journey of a woman, innocent and resigned to her predetermined destiny as nun in the first act, to another very different woman at the end: a life lived, a long path traveled.

Two musical geniuses like Massenet and Puccini put music to this story, and both have managed to establish themselves in the operatic ABC repertoire, in some way. Being an opéra-comique (although it really has little comedy, despite the exuberance of the music and the secondary characters), the presence of dialogues and spoken phrases, accompanied by the orchestra, draws attention to the fact that their number is higher than that of another masterpiece belongin to its same genre, Bizet's Carmen. And all this is accompanied by Massenet's tender and exquisite music, which portrays the rise and fall of the protagonist

Oviedo is a city which does love music. The quality of the schedules of its major musical venues are among the most important and interesting in Spain,  as well as the Orquesta Filarmonía giving free concerts in August at the Old University. And The Teatro Campoamor , home of the Prince of Asturias Awards, is one of the most emblematic places in the Asturian capital. This year, it hosts its 76th opera season. A very well-dressed audience gathered in its cozy, elegant main room, although perhaps because of the Saint Matthew's festivities, the major ones in the city, it was not completely full.

The duo formed by the director Emilio Sagi and set designer Daniel Bianco is back again for a new and elegant staging, in their elegant line. Although minimalist in nature, this staging does not lack the colourful quintaessence of much of this work. The minimalist stage in turquoise green tones, decorated with trees and flowers taken from a bucolic painting from the 18th century, the period in which the story takes place, can be seen before the play begins, covered only by a curtain of colored strips. Next to the stage there are several staircases that the figurants, dressed as ordinary people, move as the action progresses, to recreate the different scenarios. Thus, in the second act, two of them come together to represent the protagonists' house, with beautiful jade furniture. Or in the fourth, the lamps, an iconic signature of Sagi's and Bianco's stagings such as Puritani or Don Gil de Alcalá, make their appearance, rising and illuminating the gamble scene. At the end, something terrible happens: the elegantly dressed courtesans are undressed by the police, the furniture destroyed and they are thrown to the ground, a sign that they would have been raped and tortured before their deportation. And in the midst of this devastation, the final act and Manon's death takes place.

The Orquesta Sinfónica del Principado de Asturias, (Principality of Asturias Symphony Orchestra), conducted by Nuno Coelho, was at a good level, notably accompanying the artists, and never surpassing them. One can highlight the strings in the Des Grieux's arias. The cello and also the brass had moments of brilliance during the second part. The Coro Intermezzo, the Oviedo Opera Chorus, maintained a good level, highlighting the intervention of the female voices at the beginning of the fourth act.

The cast, mostly made up of great Spanish artists, has shown a devotion rarely been seen in recent times.

Sabina Puértolas sang Manon in a moving and passionate way, both at an acting and singing level, living, conveying the emotions of the character, and demonstrating her spectacular high notes in the second part, and a melancholic performance in Adieu, notre petite table.

Celso Albelo sang Des Grieux, in a performance that grew as the play transcurred. I couldn't help to get my eyes wet in En Fermant les yeux, not only because of the beauty of the aria, but also because its purity and tenderness makes the imminent separation of the characters even more hurtful, an aria in which Albelo recreated the youthful illusion of the character. But it was from Ah, fuyez douce image, which he sang with dedication and beauty, that his performance turned into excellency, and alongside with Puértolas he gave a moving rendition of the final duet.

Manel Esteve was a well-sung Lescaut who conveyed the courage and sarcasm of the character.  Roberto Scandiuzzi, sang Des Grieux's father, and he is still in a magnificent, miracolous vocal shape at 65 years old. Although the voice is logically showing signs of maturity, the dark tone and the powerful vocal flow, which sounds generously throughout the room (and in the front rows, even reverberates in the eardrums), added to his stage presence, result in a performance full of authority.

The rest of the cast sang with the same devotion, especially the three soloists who performed the roles of the three actresses.

As it was the last performance, the emotion was present throughout the show. In fact, the two protagonists hugged each other, with tears of emotion, after the final duet, and the performance was also very well received by the public, who, at leaving the theatre, were awaited by the  San Mateo festivities, of which the soprano and the conductor echoed the greetings, each carrying party scarves.

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.

La elegante tragedia de una mujer: Manon, de Massenet, en la ópera de Oviedo.

Oviedo, 16 de septiembre de 2023.

Empieza la temporada lírica en España, y la Ópera de Oviedo inicia su temporada 2023-2024 con un clásico del repertorio francés, aunque poco frecuente en los últimos años en nuestro país: la deliciosa Manon de Jules Massenet. La historia del Abate Prévost narra las aventuras de una mujer que, en su tiempo considerada una libertina, en línea con la intención del autor de prevenir a las jóvenes de no salirse del camino, hoy en día nos inspira admiración y compasión a la vez: ya que por elegir ser independiente y decidir su destino, tiene un trágico final. A lo largo de sus  cinco actos, asistimos a la fascinante trayectoria de una mujer, inocente y resignada en el primer acto, a otra mujer muy distinta al final: una vida vivida, un largo camino recorrido. 

Dos genios musicales como Massenet y Puccini pusieron música a esta historia, y ambos han conseguido asentarse en el repertorio lírico, de alguna manera. Siendo una ópera comique (aunque de cómica realmente tenga poco, pese a la exuberancia de la música y los personajes secundarios), la presencia de diálogos y frases habladas, acompañados de la orquesta, llama la atención al ser su número superior al de otra obra maestra de su género, la Carmen de Bizet. Y todo ello acompañado por la tierna y exquisita música de Massenet, que retrata el auge y la caída de la protagonista. 

El Teatro Campoamor, sede de los Premios Príncipe de Asturias, es uno de los lugares más emblemáticos de la capital asturiana. Y en su acogedora sala principal se reunía un público muy bien vestido, aunque quizá por tratarse de las fiestas de San Mateo, no estaba llena del todo. 

Una vez más, el binomio Emilio Sagi - Daniel  Bianco se reúne para un nuevo y elegante trabajo. Aunque de base es minimalista, a esta puesta en escena no le falta el colorido de gran parte de esta obra. El minimalista escenario de tonos verde turquesa, decorado con árboles y flores sacados de una pintura bucólica del siglo XVIII, época donde transcurre la historia, se ve desde antes de que empiece la obra, tapado solo por un telón de tiras de colores. Junto al escenario hay varias escalinatas que van moviendo los figurantes, vestidos como el pueblo llano, a medida que avanza la acción, para ir recreando los diferentes escenarios. Así, en el acto segundo, se juntan dos de ellas, para formar la casa de los protagonistas, con un precioso mobiliario jade. O en el cuarto, las lámparas que también se han visto en los montajes de Puritani y Don Gil de Alcalá, hacen su aparición, levantándose e iluminando la escena de juego. Al final del mismo, sucede algo terrible: las cortesanas, elegantemente vestidas, son desvestidas por la policía, el mobiliario destrozado y ellas arrojadas al suelo, señal de que habrían sido violadas y torturadas, antes de su deportación. Y en medio de esta devastación tiene lugar el acto final y la muerte de Manon. 

La Orquesta Sinfónica del Principado de Asturias, dirigida por Nuno Coelho, estuvo a un buen nivel, acompañando notablemente a los artistas, y en ningún momento sobrepasándolos. A destacar las cuerdas en las arias de Des Grieux. El violonchelo y también el metal tuvieron momentos de lucimiento durante la segunda parte. El Coro Intermezzo, titular de la Ópera de Oviedo, mantuvo un buen nivel, destacando la intervención de las voces femeninas al inicio del acto cuarto. 

El reparto, en su mayoría formado por grandes artistas españoles, ha demostrado una entrega como pocas veces se ha visto últimamente.

Sabina Puértolas, interpretó de forma conmovedora y apasionada a Manon, a nivel actoral y vocal, viviendo las emociones del personaje, además de demostrar sus espectaculares agudos en la segunda parte, y una melancólica interpretación en el Adieu, notre petite table.

Celso Albelo interpretó a Des Grieux, en una interpretación que fue a más a medida que avanzaba la obra. No pude evitar emocionarme en el En Fermant les yeux, no solo por la belleza del aria, sino también porque la pureza y la ternura de esta hace que duela aún más la inminente separación de los personajes, aria en la que Albelo recreó la ilusión juvenil del personaje. Pero fue a partir del Ah, fuyez douce image, que cantó con entrega y con belleza, cuando su interpretación pasó de notable a excelente, y junto a Puértolas dio una versión conmovedora del dúo final. 

Manel Esteve fue un Lescaut bien cantado y que trasmitió el arrojo y la socarronería del personaje.  El veterano Roberto Scandiuzzi, quien interpretó al padre de Des Grieux, sigue en magnífica forma vocal a sus 65 años. Aunque la voz, lógicamente de muestras de madurez, el oscuro timbre y el poderoso caudal vocal, que envuelve la sala (y en primeras filas, hasta retumba en los tímpanos), sumados a su presencia escénica, resultan en una interpretación rebosante de autoridad. 

El resto del reparto cumplió con la misma entrega, especialmente las tres solistas que dieron vida a las actrices.

Al tratarse de la última función, la emotividad estaba presente durante todo el espectáculo. De hecho, los dos protagonistas se abrazaron, con lágrimas de emoción, tras el dúo final, siendo además la representación muy bien recibida por el público, a cuya salida del Teatro aguardaba la verbena de las antes mencionadas fiestas de San Mateo, de la que se hicieron eco la soprano y el director de orquesta en los saludos, llevando sendos pañuelos de la fiesta.

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.

A pilgrimage to see the best tenor: glorious Juan Diego Flórez concert at El Escorial Summer Festival.

Madrid, August 4, 2023.

To go to the El Escorial Summer Festival  held at the modern Teatro Auditorio, would be like making a pilgrimage to see the best music live, since this city, located about 25 miles from Madrid, and worldwide known for its royal palace-monastery, has become one more event to consider amidst the vibrant summer activities in the capital. This festival had its spectacular begin in 2005, featuring  Riccardo Muti, and a concert version of Wagner's Siegfried with the Paris Orchestra and Christoph Eschenbach, with the idea of ​​being a Spanish Salzburg Festival. However, the truth is that in the following seasons it has had a more modest budget, while continuing to bring world-class singers. In 2013, there was a memorable Mariella Devia concert, accompanied by Giulio Zappa in the piano. In the year 2021, the Bayreuth Baroque Festival brought his acclaimed version of the opera Carlo il Calvo. This year, the Festival has announced two recitals of major interest: the American soprano Sondra Radvanovsky and the Peruvian tenor Juan Diego Flórez.

Accompanied by the pianist Vincenzo Scalera, on this occasion, the world-famed tenor comes with a very interesting program, in the first part dedicated to Verdi, with arias from Rigoletto and La Traviata, among others, which he has sung a lot around the world, and a second part dedicated to zarzuela and mostly Spanish song. The program has been the following:

PART ONE

Giuseppe Verdi

“Questa o quella”, from Rigoletto

“Ella mi fu rapita… Parmi veder le lagrime… Possente amor mi chiama”, from Rigoletto

“La donna è mobile”, from Rigoletto

Romanza senza parole in Fa maggiore (piano solo)

“O dolore”, from Attila

“Dal più remoto esilio… Dal consiglio alla presenza… Odio solo, ed odio atroce”, from I Due Foscari

Valzer in Fa maggiore (piano solo)

“Lunge da lei… De’ miei bollenti spiriti… O mio rimorso”, from La Traviata

PART TWO

José Serrano : “Al mismito rey del moro”, fro. La alegría del batallón.

“Te quiero, morena (Jota)”, fro. El trust de los tenorios.

Pablo Sorozábal : “No puede ser”, from La tabernera del puerto.

Reveriano Soutullo and Juan Vert : “Bella enamorada”, from El último romántico

Manuel M. Ponce : Intermezzo en mi menor (piano solo)

Francesco Paolo Tosti : «L’alba separa dalla luce l’ombra»

Salvatore Cardillo :“Core’n grato”

Ernesto de Curtis :“Tu ca nun chiagne”

Ruggero Leoncavallo : “Mattinata”

Giacomo Puccini

Intermezzo, from Manon Lescaut (piano solo)

“Che gelida manina”, fro. La Bohème

ENCORES: 

-José Antonio

- La Flor de la Canela y Fina Estampa (medley)

- Jalisco y Cucurrucucú paloma (medley)

- Ah, lêve-toi soleil, from Romeo y Julieta (Gounod)

- Una Furtiva Lagrima from L'Elisir d'amore (Donizetti)

After the inaugural speech by the artistic manager, since this concert was the first of this year's festival, Flórez and Scalera began a first part dedicated entirely to Verdi. The first three pieces belong to an opera he used to sing more than a decade ago, Rigoletto. After beginning with a version of Questa o Quella that was to warm up the voice, he continued with the great scene of the Duke of Mantua, the recitative Ella mi fu rapita, followed by the brilliant aria Parmi Veder le lagrime. It was here, when Flórez began to show signs of what would end up being a great night. It is no secret that Verdi is a bit of a difficult repertoire for Flórez's Rossinian voice, but with his exquisite taste for singing, his beautiful and gallant voice, as well as his bel canto virtuosity, he can carry out their interpretations. Then he continued with La Donna è Mobile, the famous aria, in which Flórez gave a brilliant performance, the first of the night, making his voice, not so big-volumed, even though it can be heard, resonated throughout the hall, especially with his high notes. Then followed two arias, more complicated than those of Rigoletto. In Attila's, he had a correct interpretation, but in I due Foscari's he was able to go further, closing it with an excellent high note.The Verdian part ended with an opera that he has been singing in recent years: La Traviata, from which he sang the great scene of Alfredo in the second act. He sang "De miei bollenti spiriti" in a sensitive way, singing in piano the "quasi" word of the beautiful line "Del universo immemore io vivo quasi in ciel". Then he closed the first part with the cabaletta "O mio rimorso", in which the character's anger, reflected in a devilish bel canto tessitura, accommodated the virtuosity and the youthful voice of the tenor, closing it with an impressive high note in "quest'onta laverò".

However, most of the audience, aware of the effort that Verdi repertoire always puts into this voice, did not expect that the second part, which had already raised many expectations, would not only fullfil, but also would exceed them until turning the evening into something unforgettable. The first four pieces of it were popular zarzuela romances, which (I sensed that it would happen) he approached with all the best of his artistry: the youthful and fresh voice, the gallant singing, the spectacular treble and the coloratura, the latter fitting very well with Spanish music, as well as surprising with his diction and showing signs of devotion and enthusiasm. Thus, the "Te Quiero Morena" sounded very seductive, the "No puede ser", very passionate, causing the theater to break into an outstanding ovation, and the "Bella enamorada", a whole display of gallantry. Then followed the Neapolitan and Italian songs, of which the best performance was Mattinata, which resulted in a huge ovation.

With his voice warm and full, the concert officially ended with "Che Gelida Manina", from La Bohème, an opera that he has sung in London and Zurich in recent years, which he sang very well, an interpretation full of romanticism, good legato and a precious high note on the word "speranza", as well as moving as if he were acting, giving a lesson in expressiveness. One knows that in each recital, Flórez takes the opportunity to sing Latin American songs accompanying himself on his guitar. As soon as he entered with it, the public began to ask him to sing Peruvian or Mexican songs. Flórez made the gesture of taking notes as in a restaurant. Finally, given the number of Peruvians present in the parterre, as he himself stated, the first encore was a famous Peruvian criollo tondero song, "José Antonio". Flórez has successfully sung and recorded popular songs from Latin America, in which his exquisite voice performs them from sensitivity to full enthusiasm and brilliance. He continued with a medley of "Fina estampa" and "La flor de la canela", a classic that he has already made his own. He did not forget the Mexican song, this time with a medley of "Jalisco" and "Cucurrucucú paloma", another classic from his repertoire, in which he made the audience laugh by purposely prolonging a high pitched note, with comical intention. Then he returned with the pianist, to sing the last two encores of the concert: first the "Ah, leve-toi soleil" from Gounod's Romeo and Juliet, which he sang marvelously, and ending the evening with his careful, beautiful, sensitive, exquisitely-sung and devoted version of " A Furtiva Lagrima" from L'Elisir d'Amore, an opera that he sang in his prime years and whose rendition of this aria is well-known and celebrated.

It must be said that Flórez was excellently accompanied by the pianist Scalera. It is worth highlighting his great accompaniment in Ella mi fu rapita, the Traviata scene, as well as in the zarzuela romances, helping Flórez to make the atmosphere more festive and at the same time more welcoming. He also stood out in the accompaniment of tips. For his own show off, the pianist played two charming pieces by Verdi in the first part, the first being the best, a beautiful interlude by Ponce and a shorter one by Puccini, in the second.

As Flórez began the aria from Romeo and Juliet, a woman yelled, "It's late!" And it certainly was, but despite all, the audience applauded so enthusiastically over and over again until the tenor finally returned to stage to give the last encore. That lady was not lacking in reason: the last bus to Madrid left El Escorial at 11:00 p.m., just when the Furtiva Lagrima finished singing, so many spectators who did not have a car had to wait for the night bus at 12:30 a.m., which makes one wonder two things: perhaps  this festival's shows should start sooner (as the Teatro Real does in summer, at 7:30 p.m., or as the Devia concert began in this same place in 2013, so there was time to take the last train to Madrid) or the Regional Bus Madrid  Company should stop lying bt stating in its website that the last bus to Madrid leaves at 11:15 p.m., because of that reason many people waited for the encores relying on this false timetable.

But nothing tarnishes a glorious night, in which the Peruvian tenor has confirmed himself again as the favorite divo of the Madrid audience, leaving the tickets sold out in every theater where he sings, whatever they are, and no matter how far away they are. Flórez has announced that he wants to record a zarzuela album. Many of us will be anxious for him to do so, and to buy it, after his amazing renditions last night.

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.

Peregrinación para ver al mejor tenor: inolvidable concierto de Juan Diego Flórez en El Escorial.

 

Madrid, 4 de agosto de 2023.

Ir al Festival de Verano de El Escorial puede ser hacer una peregrinación al  mejor arte, ya que esta ciudad, situada, a unos 40 kilómetros de Madrid y conocida mundialmente por su palacio-monasterio, se ha convertido en una cita más a tener en cuenta en la vibrante actividad veraniega en la capital. Aunque el festival arrancó espectacularmente en 2005, con la presencia de Riccardo Muti, o una versión en concierto del Sigfrido wagneriano con la Orquesta de París y Christoph Eschenbach, con la idea de ser un Festival de Salzburgo español, lo cierto es que en temporadas posteriores ha tenido un rumbo más modesto, sin dejar de traer a artistas de renombre mundial. En 2013, un servidor estuvo en un memorable concierto de Mariella Devia, acompañada por Giulio Zappa al piano. En el año 2021, el Festival Barroco de Bayreuth trajo su aclamada versión de la ópera Carlo il Calvo. Este año, el Festival ha anunciado dos recitales del máximo interés: la soprano americana Sondra Radvanovsky y el tenor peruano Juan Diego Flórez.

Acompañado del pianista Vincenzo Scalera, en esta ocasión, el mundialmente famoso tenor viene con un programa interesantísimo, en la primera parte dedicado a Verdi, con arias de Rigoletto y La Traviata, entre otras, que ha cantado mucho por el mundo, y una segunda parte dedicada a la zarzuela y canción española en su mayoría. El programa ha sido el siguiente:

PRIMERA PARTE

Giuseppe Verdi

“Questa o quella”, de Rigoletto

“Ella mi fu rapita… Parmi veder le lagrime… Possente amor mi chiama”, de Rigoletto

“La donna è mobile”, de Rigoletto

Romanza senza parole in Fa maggiore (piano solo)

“O dolore”, de Attila

“Dal più remoto esilio… Dal consiglio alla presenza… Odio solo, ed odio atroce”, de I Due Foscari

Valzer in Fa maggiore (piano solo)

“Lunge da lei… De’ miei bollenti spiriti… O mio rimorso”, de La Traviata

SEGUNDA PARTE

José Serrano : “Al mismito rey del moro”, de La alegría del batallón.

“Te quiero, morena (Jota)”, de El trust de los tenorios.

Pablo Sorozábal : “No puede ser”, de La tabernera del puerto.

Reveriano Soutullo y Juan Vert : “Bella enamorada”, de El último romántico

Manuel M. Ponce : Intermezzo en mi menor (piano solo)

Francesco Paolo Tosti : «L’alba separa dalla luce l’ombra»

Salvatore Cardillo :“Core’n grato”

Ernesto de Curtis :“Tu ca nun chiagne”

Ruggero Leoncavallo : “Mattinata”

Giacomo Puccini

Intermezzo, de Manon Lescaut (piano solo)

“Che gelida manina”, de La bohème

BISES: 

-José Antonio

- La Flor de la Canela y Fina Estampa (mix)

- Jalisco y Cucurrucucú paloma (mix)

- Ah, lêve-toi soleil, de Romeo y Julieta (Gounod)

- Una Furtiva Lagrima de L'Elisir d'amore (Donizetti) 

Con el Teatro Auditorio lleno hasta los topes, y tras el discurso inaugural de la directora artística, ya que este concierto era el primero del festival, Flórez y Scalera dieron comienzo a una primera parte dedicada íntegramente a Verdi. Los tres primeros números pertenecen a una ópera que cantó hace más de una década, Rigoletto. Tras empezar con una versión de Questa o Quella que fue para calentar la voz, siguió con la gran escena del Duque de Mantua, el recitativo Ella mi fu rapita, seguida de la genial aria Parmi Veder le lagrime. Fue aquí, donde Flórez empezó a dar muestras de lo que terminaría siendo una gran noche. No es un secreto que Verdi es un repertorio un poco difícil para la voz rossiniana de Flórez, pero con su exquisito gusto, su bella y galante voz, además de aplicarle su virtuosismo belcantista, del que en el fondo, bebe la tradición verdiana, puede sacar adelante sus interpretaciones. Luego continuó con La Donna è Mobile, la famosísima aria, en la que Flórez realizó una interpretación brillante, la primera de la noche, haciendo que su voz, no siempre sobrada de volumen aunque se haga oir, resonara por la sala, especialmente con sus agudos. Luego siguieron dos arias, más complicadas que las de Rigoletto. En la de Attila, tuvo una interpretación correcta, pero en la de I due Foscari pudo ir a más, cerrándola con un excelente agudo. La parte verdiana terminó con una ópera que lleva cantando en los últimos años: La Traviata, de la que cantó la gran escena de Alfredo en el segundo acto. El De miei bollenti spiriti lo cantó de forma sensible, apianando en el "quasi" de la bella línea "Del universo inmemore io vivo quasi in ciel". Luego cerró la primera parte con la cabaletta "O mio rimorso", en la que la furia del personaje, reflejado en una endiablada página belcantista se acomodaba al virtuosismo y a la juvenil voz del tenor, cerrándolo con un impactante agudo final en "quest'onta laverò".

Sin embargo, muchos espectadores, conscientes del esfuerzo que supone Verdi a esta voz, no esperábamos que la segunda parte, que muchas expectativas ya había levantado, no solo las cumpliría, sino que se las superaría hasta convertir la velada en algo memorable. Las cuatro primeras piezas de la misma eran romanzas populares de zarzuela, las cuales (yo me intuía que sería así) abordó con todo lo mejor de su arte: la voz juvenil y fresca, el canto galante, los espectaculares agudos y la coloratura, encajando muy bien esta última con la música española, además de sorprender con la dicción y dando muestras de entrega y entusiasmo. Así, el Te quiero morena sonó muy seductor, el No Puede ser apasionado, logrando que el teatro se viniera abajo y el Bella enamorada toda una muestra de galantería. Luego siguieron las canciones napolitanas e italianas, de las cuales la interpretación más redonda fue la de Mattinata, que se arrancó una enorme ovación.

Con la voz ya entrada en calor y en plenitud, el concierto terminó oficialmente con el Che Gelida Manina, de La Bohème, ópera que ha cantado en Londres y en Zúrich en los últimos años, que cantó muy bien, una interpretación cargada de romanticismo, buen legato y un precioso agudo en la palabra "speranza", además de moverse como si estuviera actuando, en una lección de expresividad. Uno sabe que en cada recital, Flórez aprovecha para cantar canciones latinoamericanas acompañándose él mismo de su guitarra. Nada más entrar con ella, el público empezó a pedirle que cantase canciones peruanas, o mexicanas. Flórez hizo el ademán de tomar nota como en un restaurante. Finalmente, ante la cantidad de peruanos que había en el patio de butacas, según él mismo añadió, se arrancó con una famosa canción criolla peruana, "José Antonio". Flórez ha cantado y grabado con éxito canciones populares de Latinoamérica, en las que su voz exquisita las interpreta desde la sensibilidad hasta culminarlas con entusiasmo. Siguió con una mezcla de "Fina estampa" y "La flor de la canela", clásico que ha hecho ya suyo. No se olvidó de la canción mexicana, esta vez con una mezcla de "Jalisco" y "Cucurrucucú paloma", otra clásica de su repertorio, en la que arrancó las risas del público al prolongar a propósito un agudo, con intención cómica. Luego regresó con el pianista, para acometer los dos últimos bises del concierto: primero el "Ah, leve-toi soleil" del Romeo y Julieta de Gounod, que cantó maravillosamente, y terminando la velada con su cuidada, bella y entregada versión de "Una Furtiva Lagrima" de L'Elisir d'Amore, ópera que cantó en sus años de plenitud y cuya interpretación de esta aria es conocida y celebrada.

Hay que decir que Flórez estuvo excelentemente acompañado del pianista Scalera. A destacar su gran acompañamiento en Ella mi fu rapita, la escena de la Traviata, así como en las romanzas de zarzuela, ayudando a Flórez a hacer del ambiente más festivo y al mismo tiempo más acogedor. También destacó en el acompañamiento de las propinas. Para su lucimiento propio, el pianista interpretó dos encantadoras piezas de Verdi en la primera parte, siendo la primera de ellas la mejor, un precioso intermedio de Ponce y otro más corto de Puccini, en la segunda. 

Mientras Flórez empezaba con el aria de Romeo y Julieta, una mujer gritó: "¡Es tarde!" Y ciertamente lo era, pero pese a todo el público aplaudió a rabiar una y otra vez hasta conseguir que el tenor saliera y diera la última propina. Razón no le faltaba a aquella señora: el último autobús a Madrid salió de El Escorial a las 23 horas, justo cuando terminó de cantar la Furtiva Lagrima, con lo que muchos espectadores que no tenían coche tuvieron que esperar al autobús nocturno de las 00:30 horas, lo que uno se hace plantear dos cosas: que las funciones de este festival quizá debieran empezar más pronto (como hace el Real en verano, a las 19:30 horas, o como en este mismo sitio empezó el concierto de la Devia en 2013, que daba tiempo a coger el último renfe) o el Consorcio Regional de Autobuses de Madrid deje de mentir diciendo que el último autobús sale a las 23:15. 

Pero nada empaña una noche gloriosa, en la que el tenor peruano se ha confirmado por enésima vez como el favorito del público madrileño, que llena los teatros en los que canta, sean los que sean, y por muy lejos que estén. Flórez ha anunciado que quiere grabar un disco de zarzuela. Muchos estaremos ansiosos de que lo haga para ir corriendo a comprarlo, después de lo que ha sucedido anoche. 

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.

Augmented Reality? This is the conductor and Kundry's triumph! Parsifal at the 2023 Bayreuth Festival.

"Kinder, macht neues!"

"Children, create something new!"

This is what Wagner said, pretty much, in a letter addressed to Franz Liszt, then his future father-in-law, in 1852, referring to the new creation of Hector Berlioz, Benvenuto Cellini. One hundred and seventy-one years later, this revolutionary quote by the master has been used to legitimize any new creation concerning performances of Wagner's operas.

Every late July, I celebrate my blog's anniversary, the sixth one this year, commenting each new production at the Bayreuth Festival. This year, and after four years of absence, it is the turn of  Parsifal, the sacred work, the sacred  festival that Wagner created especially for the Festspielhaus' stage, hoping that it would only be performed there, almost as an act of faith. As the 2026 Festival (which celebrates its 150th Anniversary) is coming closer and closer, and with the uncertainty on Katharina Wagner's future as the Festival leader, this year's new production of Parsifal caused great excitement when last year, the designed director, American-born Jay Scheib, announced that the staging would incorporate augmented reality, and that viewers would need 3D glasses to enjoy the experience. On the other hand, it was also announced that, for the first time in Bayreuth Festival history, a Spanish conductor was going to conduct there: Pablo Heras-Casado, the maestro from Granada, who recently has conducted the Ring in Madrid. It is true that the superstar tenor (and ocassionally conductor) Plácido Domingo conducted Die Walküre in 2018, but he is not precisely widely known as conductor, specially after his recent and resounding failure at the Verbier Festival conducting music by Beethoven and Tchaikovsky less than two weeks ago.

Augmented reality's image for this show.

Scheib, from the Massachusetts Institute of Technology, creates a staging whose, probably, true main attraction must rely on the Augmented Reality animations, which were only available for the privileged 300 viewers who have been able to get the special glasses, because what is seen in the video is much simpler and more minimalist. Meentje Nielsen's costumes are , however, sort of disappointing because of their simplicity and ugliness, especially in the first act, being slightly enhanced in the second with the costumes of Kundry, Klingsor and the flower girls. On the other hand, the excellent lighting by Reiner Casper, who creates different environments that match the initial pessimism and the final hope of the work, has to be mentioned. A few minutes after the prelude begins, the curtain opens to show a wide stage, very darkly lit. Gurnemanz and the squires sleep, and as a nod to the previous successful production, Gurnemanz wakes up first, and finds himself with a beautiful and seductive woman with whom he gropes, while a video camera films everything and is projected on a screen. When the others wake up, the stage takes on a more bluish lighting. Another seductive woman, dressed in white, enters the scene, it is Kundry, the woman in the prelude being an avatar of her. Amfortas appears, this time dressed in white and with a bleeding wound, as well as bathing in the before mentioned puddle. Parsifal appears dressed in a life jacket, with sneakers and shorts, an aesthetic reminiscent of a shipwrecked man or an immigrant who risks his life in a boat. What if he was a newcomer, from the real world, to this magical world? The scene change to the Grail scene begins with a lighting play, and the empty stage, now with an ovalated, circle shape, from which the Grail knights emerge. This moment, of  visual beauty, is somewhat reminiscent of the aesthetics of Wieland Wagner. The Grail procession takes place, and true to the script, Amfortas discovers the Grail, this time a huge diamond-shaped boulder. Titurel appears on the scene, as a decrepit old man, although with the blood of Amfortas, poured over the Grail into the chalice, Titurel is spectacularly rejuvenated, and then embraces his son Amfortas. At the end of the act, Kundry appears, solemn, triumphant, as a huge circled dome descends, surrounding her.

The second act continues with that electrifying and terrifying minimalism: A huge prism, shaped like the Grail, but illuminated in pink, appears to the right of the stage, in which Klingsor, dressed in a pink suit and high heels, invokes Kundry in the distance, while donning a demon mask. Kundry lies to one side of the huge, empty stage, again with a nod to 1950s "Neu Bayreuth." The scene of the flower girls, on the other hand, is really colourful, with flowery images and bright colors taking over the stage as the young flower girls firstly pick up their loved ones killed by Parsifal, and then make advances on him. One thing that pleasantly surprises is the chemistry between Schager and Garanča, enhanced by the direction of the actors, since Parsifal's attitude towards Kundry is not one of rebuke, but rather one of tenderness, compassion and understanding, even in a moment as tense such as the scene after the kiss between the protagonists. In the third act, the pond from the first act now appears flooded, with an abandoned tank, a tent where Gurnemanz seems to live with the mysterious woman from the prelude. As written, Gurnemanz awakens Kundry, Parsifal appears with the Grail spear and baptizes Kundry. The scene change is spectacular, with an illuminated circle underwater. In the end, Parsifal destroys the Grail, the fruit of misfortune for Amfortas and for the Grail order, as well as containing the evil that Klingsor represented, a pyrrhic holiness that causes pain. Finally, Parsifal and Kundry walk into the water, entranced, while Gurnemanz and the other woman embrace.

Heras-Casado has received many positive reviews of his conducting of the Bayreuth Festival Orchestra. His tempi are fast, but very theatrical, seeming more passionate than rushed or impersonal. The prelude and interlude of the second act surprise with their devilish, furious sound. The quivering strings of the orchestra are noted in the prelude, in the arrival of Kundry, in the Grail scene, and in the prelude to the third act. The Act 3 interlude is so majestic that it arouses the sense of tragedy, just like the sweetness of the wood at Kundry's baptism and the charm of Good Friday. It is not surprising that after the performance has finished, he received huge ovations. In Spain there have been great Wagnerian conductors, from José Lasalle who introduced Wagner, Mahler, Bruckner and Strauss to Spanish audiences at the beginning of the 20th century, going through Jesús López-Cobos, with so much experience conducting in Berlin, or Josep Pons at the Liceu in Barcelona, but it was the young maestro from Granada who was the first to officiate the maestro's music in his sacred temple. The Bayreuth Festival Choir once again shows its excellence, in the Grail scene with the female choir behind the scenes, and with the powerful male choir at the end of it. In the flower scene, the female chorus stood out for its sensuality and its performance, representing the lust between them. In the third act, the male chorus gave a mournful, not powerful but solemn rendition of Titurel's funeral march.

Along with Heras-Casado, the other great triumph of the night was that of the superstar, the mezzo-soprano Elina Garanča, who replaced Ekaterina Gubanova in three performances, including the premiere, thus making her Bayreuth debut. Garanča had already sung the role in Vienna, in a closed streaming in 2021, with no audience, featuring a stellar cast. Already then he surprised with his magnificent Kundry. Now, after listening her rendition in the opening broadcast, one wonders if we are in front of  Waltraud Meier's successor in this role. Garanča has a voice with a velvety timbre, seductive, with exquisite singing, a really beautiful middle voice with a dark touch. The low voice is excellent, heartbreaking, dramatic, and this was shown in the first scene of the second act with Klingsor. The treble is very well projected, and comes to astonish in the terrible line "ich sah ihn, und - lachte!" The renditions of his arias "Ich sah das Kind" and "Grausamer" were remarkable, the first one in a sensual display of his vocal attributes, and the second one in a dramatic display in which she bares the character's torment, not in a wild way like expected, but sensitive and fragile. At an acting level, her expressions, her stage magnetism, her captivating look and her great physical beauty round off her portrait of this tormented and cursed woman. A historic performance, and certainly one of the most important in Bayreuth in recent years.

In the role of Parsifal, Andreas Schager, today's most demanded heldentenor, surprises again with his resistance and his heroic and robust tone, which never sounds badly. As actor, he is capable of conveying innocence in the first act, slyness and strength in the second one, and authority in the third one. In a role not as complicated as Siegfried but one that still requires resistance, Schager comes out on top once again, becoming, along with Vogt, the indispensable tenor of each season in Bayreuth.

Georg Zeppenfeld, who has already sung the role in Bayreuth, and also in Vienna with Garanča, is an excellent Gurnemanz, even if he doesn't have a gigantic voice. His voice is endowed with expressiveness, which he puts at the service of the drama, and a beautiful low voice, as well as a dark bass tone that conveys authority.

Derek Welton, who was Klingsor in the last production, is now an Amfortas who has a voice and knows how to sing dramatically, although his character inspires more pity than nobility. Jordan Shanahan, who this time plays the role of Klingsor, has a remarkable tone, without being too loud, a baritone that knows how to convey evil, but above all, the disgust his character inspires.

Tobias Kehrer as Titurel has a deep, dark voice, which suits his character from beyond the grave.

The supporting ensemble is as always exceptional, highlighting the tenor Siyabonga Maqungo, and the bass Jens Erik-Aasbø as the Grail Knights, or the Spanish tenor Jorge Rodríguez-Norton as a squire, with an excellent voice, or Marie-Henriette Reinhold like the voice from on high. The flower girls were also excellent.

Something rare in Bayreuth, few boos have been heard at the end of this performance, except for some at the end of the first act and for the stage crew, this new production being received with more enthusiasm than disdain. This Parsifal has suffered from changes in the cast, but luckily they improved the final result. The staging, despite the much-heralded augmented reality which has only been enjoyed by less than a seventh of the public, has resulted more functional and conservative than shocking and innovative. But let's trust that with the successive seasons it will be refined. What is beyond any doubt is that it has been a musical hit, with an experienced and unbeatable cast, in one of the best casts heard at the Festspielhaus in recent years. Once again, we can only thank the streaming that arrives every year on BR Klassik, 3sat and now Stage+, as well as YouTube and other platforms, which every July 25th bring the magic of the Bayreuth Festival to the world, turning the audience from thousands into millions. Wagner would have loved it.

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.

¡Un español conquista la colina verde! ¡Habemus Kundry! Parsifal en el Festival de Bayreuth de 2023.

"Kinder, macht neues!"

" Niños, ¡cread algo nuevo! "

Es lo que Wagner, dijo, más o menos, en una carta dirigida a Franz Liszt, entonces su futuro suegro, en 1852, refiriéndose a la nueva creación de Hector Berlioz, Benvenuto Cellini. Ciento setenta y un años después, esta arenga revolucionaria del maestro se ha utilizado para legitimar cualquier nueva creación relacionada con la interpretación de su obra. 

Un año más, celebramos un nuevo aniversario de mi blog, el sexto ya, comentando el Festival de Bayreuth. Este año, y tras cuatro años de ausencia, es el turno de una nueva producción de Parsifal, el festival sacroescénico que Wagner creó especialmente para el Festival, deseando que solamente allí se representara, como un acto de fe,. No pudo ser, y desde 1914 se representa en todo el mundo, haciéndonos posible el disfrutar de su última ópera sin tener que ir allí, con lo complicado que es. Sin embargo, cada función o nueva producción de esta ópera en Bayreuth es un auténtico acontecimiento. Con la cercanía del festival conmemorativo de 2026, y con la incertidumbre de si Katharina Wagner seguirá muchos años al frente del festival, la nueva producción de Parsifal de este año, causó una gran expectación cuando el año pasado, el director de escena encargado de la misma, el estadounidense Jay Scheib, anunció que el montaje incorporaría realidad aumentada, y que los espectadores necesitarían gafas en 3D para disfrutar de la experiencia. La otra gran novedad fue que, por otro lado, por primera vez en la historia, un director de orquesta español iba a dirigir en el foso de Bayreuth: el granadino Pablo Heras-Casado. Cierto es que el polifacético tenor Plácido Domingo dirigió allí La Valquiria en 2018, pero su oficio principal no es precisamente el de director de orquesta, y mucho menos después de su reciente y estrepitoso fracaso en el Festival de Verbier dirigiendo música de Beethoven y Tchaikovsky.

Imagen de Realidad Aumentada para este montaje.

Scheib, procedente del Massachusetts Institute of Technology, crea una puesta en escena cuya verdadera atención debe estar en la visión ofrecida por la Realidad Aumentada, algo solo al alcance de los 300 espectadores que han podido optar a las gafas 3D, porque lo visto en el vídeo resulta bastante más simple y minimalista. El vestuario de Meentje Nielsen decepciona, sin embargo por su simpleza y fealdad, especialmente en el primer acto, siendo ligeramente mejorado en el segundo con los atuendos de Kundry, Klingsor y las muchachas flor. En cambio la excelente iluminación del maestro Reiner Casper, que crea diferentes ambientes que casan con el pesimismo inicial y la esperanza final de la obra. A los pocos minutos de empezar el preludio, se abre el telón y se revela un escenario amplio, de iluminación muy oscura, en cuya mitad se alza un monolito y un pequeño estanque. Gurnemanz y los escuderos duermen, y como guiño al exitoso montaje anterior, Gurnemanz despierta primero, y se encuentra con una bella y seductora mujer con la que se magrea, mientras una cámara de vídeo lo filma todo y se proyecta en una pantalla. Al despertar los demás, el escenario toma una iluminación más azulada. Otra seductora mujer, vestida de blanco, entra en escena, es Kundry, siendo la mujer del preludio una imitación de ella. Amfortas aparece, esta vez vestido de blanco y con la herida sangrante, además de bañarse en ese charco antes mencionado. Parsifal aparece vestido con un chaleco salvavidas, con zapatillas y pantalón corto, una estética que recuerda a un náufrago o a un inmigrante que se juega la vida en una patera. ¿Y si se tratase de un recién llegado, del mundo real, a este mundo mágico? El cambio a la escena del Grial comienza con un juego de luces, y el escenario vacío, de cuyo suelo circular emergen los caballeros del Grial. Este momento, de relativa belleza visual, recuerda un poco a la estética de Wieland Wagner. La procesión del grial tiene lugar, y fiel al libreto, Amfortas descubre el Grial, esta vez un enorme pedrusco con forma de rombo. Titurel aparece en escena, como un viejo decrépito, aunque con la sangre de Amfortas, vertida encima del Grial hacia el cáliz, Titurel rejuvenece espectacularmente, y abraza a su hijo Amfortas. Al final del acto, aparece Kundry, solemne, triunfante, mientras desciende un enorme círculo, rodeándola. 

El segundo acto sigue con ese minimalismo tan electrizante como aterrador: Un enorme prisma, con la forma del Grial, pero iluminado de rosa se abre a la derecha del escenario, en el que Klingsor, ataviado con un traje rosa y zapatos de tacón, invoca a Kundry a lo lejos, mientras se pone una máscara de demonio. Kundry yace en un lado del enorme y vacío escenario, de nuevo con un guiño al "Nuevo Bayreuth" de los años 50 . La escena de las muchachas flor, por otro lado, destaca por su colorido, imágenes floridas y vivos colores se adueñan del escenario mientras las jóvenes flor recogen a sus amados muertos por Parsifal, para luego insinuársele. Una cosa que sorprende gratamente es la química entre Schager y Garança, potenciada por la dirección de actores, ya que la actitud de Parsifal hacia Kundry no es la de reprensión, sino de ternura, compasión y comprensión, incluso en un momento tan tenso como la escena posterior al beso entre los protagonistas. En el tercer acto, el estanque del primer acto aparece ahora encharcado, con un tanque abandonado, una tienda de campaña donde Gurnemanz parece vivir con la mujer misteriosa del preludio. Como en el libreto, Gurnemanz despierta a Kundry, Parsifal aparece con la lanza del Grial y bautiza a Kundry. El cambio de escena es espectacular, con un círculo iluminado bajo el agua. Al final, Parsifal destruye el Grial, fruto de desgracias para Amfortas y para la orden, además de contener el mal que representaba Klingsor, una santidad pírrica que causa dolor. Finalmente, Parsifal y Kundry se adentran en el agua, en trance, mientras que Gurnemanz y la otra mujer se abrazan.

Heras-Casado ha obtenido muchas críticas positivas con su dirección de la Orquesta del Festival de Bayreuth. Sus tempi son rápidos, pero favorecen la acción teatral, agilizándola, pareciendo más apasionada que apresurada. El preludio y el interludio del segundo acto sorprenden por su sonido diabólico, furioso. Las cuerdas estremecedoras de la orquesta se hacen notar en el preludio, en la llegada de Kundry, en la escena del Grial, y en el preludio del tercer acto. El interludio del mismo es tan majestuoso que despierta la sensación de tragedia, al igual que la dulzura de la madera en el bautizo de Kundry y el encanto del Viernes Santo. No es de extrañar que en los aplausos finales, haya cosechado enormes ovaciones. En España ha habido grandes maestros wagnerianos, desde José Lassalle quien introdujo a Wagner, Mahler, Bruckner y Strauss en España a principios del siglo XX, pasando por  Jesús López-Cobos, con tanta experiencia en Berlín, o Josep Pons en el Liceu de Barcelona, pero ha sido el joven maestro granadino quien ha sido el primero en oficiar la música del maestro en su templo sagrado. Se ha hecho historia, y con letras de oro. El Coro del Festival de Bayreuth muestra una vez más su excelencia, en la escena del Grial con el coro femenino detrás de escena, y con el potente coro masculina al final de la misma. En la escena de las flores, el coro femenino destacó por su sensualidad y su actuación, representando la lascivia entre ellas. En el tercer acto, el coro masculino dio una interpretación doliente, no poderosa aunque sí firme, del cortejo fúnebre de Titurel.

Junto a Heras-Casado, el otro gran triunfo de la noche ha sido el de la superestrella, la mezzosoprano Elina Garanča, quien ha sustituido en tres funciones a la prevista Ekaterina Gubanova, debutando así en Bayreuth. Garanča ya había interpretado el rol en Viena, en un streaming sin público en 2021, con un reparto estelar. Ya entonces sorprendió con su magnífica Kundry. Ahora, tras escucharla en la función de estreno, uno se pregunta si no estamos ante la sucesora de Waltraud Meier en este rol. Garanča tiene una voz de timbre aterciopelado, seductor, con un canto exquisito, un centro realmente bello y con un toque oscuro. El grave es excelente, desgarrador, dramático, y esto lo demostró en la primera escena el segundo acto con Klingsor. El agudo está muy bien proyectado, y llega a impresionar en la terrible línea "ich sah ihn, und - lachte!" Las interpretaciones de sus arias "Ich sah das Kind" y "Grausamer" son memorables, la primera en un despliegue sensual de sus atributos vocales, y la segunda por un dramatismo en el que desnuda el alma del personaje, no de una forma salvaje como se espera, sino sensible y frágil. A nivel actoral, sus expresiones, su magnetismo escénico, su cautivadora mirada y su gran belleza física redondean su interpretación de esta mujer atormentada y maldita. Una interpretación histórica, y desde luego una de las más importantes en el Bayreuth de los últimos años. 

En el rol de Parsifal, Andreas Schager, el heldentenor más solicitado de la actualidad, vuelve a sorprender con su resistencia y su timbre heroico, que nunca suena mal y que por momentos es robusto. Como actor, es capaz de transmitir inocencia en el primer acto, socarronería y fuerza en el segundo, y autoridad en el tercero. En un rol no tan complicado como Sigfrido pero que sigue requiriendo resistencia, Schager sale airoso una vez más, y convirtiéndose, junto con Vogt, en el tenor indispensable de cada temporada en Bayreuth.

Georg Zeppenfeld, quien ya ha cantado el rol en Bayreuth, y también en Viena con Garanča, es un excelente Gurnemanz, aunque no tenga una voz poderosa y gigante. Su voz está dotada de expresividad, que pone al servicio del drama, y un bello grave, además de un timbre de bajo profundo que le da autoridad. 

Derek Welton, quien fue Klingsor en la producción pasada, es ahora un Amfortas que tiene voz y sabe cantar con dramatismo, aunque su personaje inspira más lástima que nobleza.  Jordan Shanahan, quien esta vez se ocupa del rol de Klingsor, tiene un timbre notable, sin ir sobrado de volumen, un barítono que sabe transmitir la maldad, pero sobre todo el resentimiento del personaje y la repugnancia que inspira.

Tobias Kehrer como Titurel tiene una grave, oscura voz, lo que favorece a su personaje de ultratumba.

El conjunto de secundarios es como siempre excepcional, destacando al tenor Siyabonga Maqungo, y al bajo Jens Erik-Aasbø como los caballeros del Grial, o el también tenor español Jorge Rodríguez-Norton como un escudero, de excelente voz, o a Marie-Henriette Reinhold como la voz de las alturas. Las muchachas flor también fueron excelentes.

Contrario a lo que suele pasar en Bayreuth, pocos abucheos se han escuchado este año, salvo algunos al final del primer acto y para el equipo escénico, siendo recibida esta nueva producción con más entusiasmo que desdén. Este Parsifal ha sufrido de cambios en el reparto, pero por suerte han sido para mejor, y aunque la puesta en escena, sobre todo porque del tan anunciado concepto de realidad aumentada solo ha podido disfrutar menos de una séptima parte del público, ha terminado por ser más funcional y conservadora que impactante e innovadora. Pero confiemos en que con las sucesivas temporadas se vaya refinando. Lo que está fuera de toda duda es que ha sido un éxito musical, con un reparto experimentado e inmejorable, en uno de los mejores elencos escuchados en la colina verde. Una vez más, solo nos queda agradecer al streaming que cada año llega por BR Klassik, 3sat y ahora Stage+, además de Youtube y otras plataformas, las cuales cada 25 de julio llevan la magia del Festival de Bayreuth al mundo, pasando la audiencia de miles a millones. A Wagner le habría encantado.

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.

The omnipotent princess: First Cast of Turandot at the Teatro Real.

Madrid, July 19, 2023.

From the 2021 Tosca with superstar casts to the 2023 Turandot with several cancellations.

This could have been thought by some Madrid opera goers, when noticing all the ups and downs that this production has gone through, specially cancellations that did angered the audience. In the second cast, the Russian soprano Elena Pankratova was scheduled, but she was replaced firstly by Angela Meade and finally by Ewa Płonka, who is to sing this run of performances. As for the first cast, it can be said that, after Robert Wilson's production, the main attraction of these performances was the debut in the role of Liù by the American soprano Nadine Sierra, especially after her triumph at La Sonnambula last December in this stage. However, the soprano canceled her performance to take a break from her busy schedule. Finally, Serra has been replaced by the Italian soprano Salome Jicia who plays the long-suffering slave. In last days, Maribel Ortega has replaced Ewa Płonka, in the second cast, and Kristen Benedikt has replaced Martin Muehle in the third one.

Last week, the Teatro Real was devoted to its Opera Week, which for the first time broadcasts several shows on a giant screen, at the Isabel II square, in one week. The show on Friday the 14th has been screened to various cultural centers throughout Spain, and was telecasted in Spanish TV last Sunday. In addition, taking advantage of the fact that Javier Camarena gave a concert on the July 12 with the Granada Orchestra, the Teatro Real Chorus and Orchestra and the first cast performed this opera at the Granada Festival, in a concert version.

Italian soprano Anna Pirozzi is the foremost  dramatic soprano from her country nowadays,  and one of the major interpreters of Turandot today. Pirozzi has a considerable vocal flow, as well as being able to project a powerful treble, although the low voice isn't as much as powerful. This voice is authoritative, and during the riddle scene, it impacts with its strong volume. During the In Questa Reggia, one of the highlights of the night, the high voice in the fearsome line "Quel grido e quella morte" was a display of that  stage authority and impact. Those powerful high notes could even be heard at the end of the second act. In the third, she remained at a good level, although during the duet with Calaf she lost her pulse with the orchestra, which came to eclipse both her and the tenor, although she recovered again for her famous final intervention,  showing again her amazing high voice and notes.

Jorge de León, returns to the Teatro Real with his massive voice to interpret another of his siganture roles, Calaf. De León is already in a period of vocal maturity, but despite everything, he strives to sing with all his stamina on stage, even though the tone has moments that are not exactly beautiful, especially in the first act and in the final duet of the third. However, when the moment requires it, the voice is able of  to show a remarkable level, especially in the most important arias such as Non piangere Liù and Nessun Dorma, in the latter demonstrating all his vocal power. During the duet with Turandot he also had the same problem as Pirozzi, being overshadowed by the orchestra at times. The high voice continues to have an impact, although some high notes are better achieved than another ones.

With the enormous responsibility of replacing the expected superstar, Salome Jicia sang  Liù,  in an increasing performing level. The voice is has a darker tone for this role. In addition, her rendition of Signore, Ascolta was the only one that received applause that night. She performed much better in her big Third Act scene, where her performance was moving at a vocal and acting level (mostly with her expressions, since this staging doesn't allow much movement).

Adam Palka sang a Timur with enough vocal volume but rather correct singing.

The rest of the cast repeated their devoted performances.

The orchestra conducted by Nicola Luisotti once again brought out its strength, with a Wagnerian sound. Strings showcased during Act One, and so did the trumpet in the chorus O, Giovinetto. At the end of the second act, the orchestra did sound less refined, although in the rest of the work it continued with its usual spectacularity. There was also exquisite tenderness during the scene of the three ministers, to be followed by an intense performance of the orchestral interludes. In the final duet, the orchestra overcame the singers. I wonder if the fact that the orchestra overshadowed the choir in the performance of July 7, was due to my seat, because now, in a seat further away from the orchestra, I was able to enjoy the Teatro Real Chorus, which sang an anthological first act. They maintained their big level in the remaining acts, but the female section sang in a tender and sad way the final lines after Liù's death scene.

Having seen it again, I start to think that my theory that, according to Bob Wilson's staging, Calaf dies at the end of the play might be bolstered by something I hadn't realized before: that when Turandot discovers his name, he disappears, leaving only her illuminated. Interesting to see how when he kisses her (in this staging he only touches her from a distance), the ubiquitous blue turns red. Nothing will be the same for her. It is a very beautiful scenic resource.

Puccini died when he was still in his creative prime, as evidenced by this brilliant score in which he takes a step forward in his own style, taking several of the musical tendencies of that time as a reference; surpassing himself in every act. That is why it is a pity that the third act, the most important musically and dramatically, was interrupted by the death of the composer, although he did not know very well how to solve it either, and his delay because this confussion contributed to leave this work unfinished. In a way, Liù's final scene and Timur's aria and chorus that follow her death are so genius-inspired that it seems that,like Mozart with his Requiem, this music seems to have been composed for Puccini's own funeral.

Arturo Toscanini stopped the premiere performance of Turandot at La Scala with this scene. Some consider it the best ending. Had it not been for the fact that tradition has already accepted Alfano's ending (which doesn't stand up to comparison with Puccini's music, despite the fact that it does close the work with a flourish by having the choir celebrate love by singing Calaf's leitmotif) ; maybe it could be an ideal ending. But Puccini did want a change for Turandot's character, from a cruel, cold, insensitive princess to a passionate, sensitive woman who discovers love, and Alfano did the best he could under the circumstances.

The performance was welcomed with a standing ovation for the entire cast, once again tickets sold out, such is the passion of the audience in Madrid for this opera. And so ends the 2022-2023 Teatro Real season, with an important Chinese presence in it: the meeting of two worlds in John Adams' Nixon in China, and this distant and exotic fairy tale, where women are the ones who carry the weight of the story. Now we can rest, make a balance of the season, what we liked the most and the least, now is the time for enjoying the summer festivals, and wait for Cherubini's Medea to open the 2023-2024 Teatro Real season in September.

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.