Klingsor "Mefistofele" (Arrigo Boito) - Palau de les Arts - 04/27/1911
Yesterday was released in so-called Auditorium of the Palau de les Arts the last opera of the season in Valencia, with the concert version of the work of Arrigo Boito "Mefistofele" , a page that is not the most common in the repertoire of major opera theaters, but has a definite musical interest, with some beautiful moments.
operas in concert version is not exactly my cup of tea. The stage is a fundamental component of an opera, although it failed, and when it is suppressed, the final result, although it is very positive as in the case of yesterday, I keep calling costs opera. It's another thing. Some argue that prefer these versions in concert performances in that break the script. But it's not my case.
I assume that the times of crisis we need to be adjusted and that one way of lowering costs in this area is to resort to such representations. I accept it, but inevitably my interest wanes. And I fear that this is only the beginning and the operas in concert will increase next season (yes, that here is still not officially disclosed, if at all decent theaters in the world have long since been announced with all kinds of construction details, dates and performers).
A lack of scenery, on this occasion he tried to acclimate a little thing with a continuous release of smoke and lighting effects using fairly basic (red tones and blue evil passages and white in heaven).
Italian director Nicola Luisotti , head of the Orquestra de la Comunitat Valenciana , conducted an extraordinary reading of the score. Knew how to draw, in depth, all designed by orchestral richness and care Boito nuances neatly, accurately and energetic running briskly. So strong that at one point, the baton went flying, but luckily sacase the eye to any musician. Ildar Abdrazakov picked it up and handed it, throw it back to the ground, the director, I do not know if this time intentionally or not.
This is a work in which if orchestra and chorus work, the ultimate success is almost guaranteed. And in this case the orchestra, conducted by Luisotti wisely , worked perfectly in all sections, and the choir was immense.
And the great star of the evening was undoubtedly the Cor de la Generalitat , which has put a finishing touch to the season with his superb performance this demanding score, which got so shine incontestable. His first speech, entering into piano "Ave Signor" was truly sublime, grand and seamless as was the impressive final. children Escolania de la Mare de Deu dels Desamparats were not the same level, although there is nothing to object to his performance.
As for the soloists, the bass Ildar Abdrazakov , a regular on the New York MET, was a prominent Mefistofele. I really liked. Perhaps it was missing more forcefully, especially in the most serious costs exceed the orchestra, especially in its last sentences of the night where I do not know if he sang or simply move your mouth, because it was covered relentlessly by the choral and orchestral sound stream. But the Russian sings with great taste with a warm voice, beautiful color and timbre nobility, and "are spirit che nega" was fantastic, with power.
The role of Faust was taken by the Mexican tenor Ramon Vargas repeating role in Les Arts after its recent success in "L'Elisir d'Amore" and I have to say it was not as bright as on that occasion. I left with the conviction that, in addition to this role is less to his vocalism, possibly yesterday was not in perfect health. Since then he started quite insecure and "Dai campi dai prati" was really improved, showing some struggle to achieve and project the treble. It also seemed a bit cold and lacking in expression. Anyway in the second half of the opera improved significantly. Showed a more dramatic implication, the voice was in much better and gave us some magical moments, like a remarkable "Giunta, sul'passo extremity" and a beautiful duet "Lontano, lontano" which wasted elegance songbird.
The hitherto completely unknown to me, Canadian soprano Yannick-Muriel Noah as Margherita, was one of the winners of the night. I know I'm going to go against the majority opinion, but I have to say that I ended up convincing. His voice sounded too dark and sometimes piped gave the impression that he had placed a whole sobrasada bell. I acknowledge that delivery not missed. Wore volume, power and clarity in the treble, good fiat, was adorned with boldly outlining some middle voices and filados very acceptable, and was always immersed in the role, with great dramatic expressiveness. But when a voice not you excited, there is nothing to do, me and Noah left me completely cold. It was probably my problem, but I can not say otherwise.
The Venezuelan Lucrezia García in the role of Elena , I did not like. Technically much more limited Noah, no could control the huge volume of his voice. He was very powerful in the treble, but they were open and whistling. And his sudden change of color in the different registers greatly disfigured vocal line.
papers and Marta Pantalis , little given to the splendor, were played brilliantly by the young Mallorcan mezzo Maria Luisa Corbacho returning to Les Arts after last season left us some excellent prints "Cavalleria Rusticana" , "The Traviata or "La Vida Breve" .
Elche tenor Javier Agulló also appeared in two roles, as Wagner and Nereo , which do not offer much room to stand out, and so did meet with enormous correction. He started feeling a little nervous, but not tarnished at all in his duet with Vargas Act I
The audience, which was over three quarters of entry despite the semifinal match with soccer, and those who could see the maestro Alberto Zedda responded with loud applause to the good show put on, the applause sound proving particularly for members of Cor de la Generalitat and Nicola Luisotti .
I do not want to close this review without referring once again to this monstrosity aesthetically pleasing and acoustically despicable who dared call Auditorium at the Palau de les Arts. I'm saying that if he had called Juan Manuel, the name would have been better.
Although compared to the first years have improved somewhat, remains absolutely unpresentable the acoustics of this hall, the result of dysfunctional architectural onanism Mr. Calatrava , for me to be the third of the brothers comedians, because what makes us laugh the fucked every time we go is priceless.
Yesterday we mentioned some friends the need for this chestnut Auditorium longer used for musical chores and give any other purpose. It was noted that could be used to store (for sets, bill of costumes, shoes Mairé ...) or "ballenográfico" leveraging its similarity to the inside of a whale, and Helga could even set Pinocchio, or heated (for capitalize on the flood), or any failure to set fire Special Section in 2012 ... so I do not know ... will open a contest of ideas and proposals are supported.
I recommend reading the reviews and comments and Titus Maacah .
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