Last Saturday was premiered at the Palau de les Arts opera "Yevgeny Onegin" Tchaikovsky of . Striking result of entry of the large number of holes visible in the room. It is true that the cast had no famous names who did not invite the cold night out, that ticket prices do not diminish nor cold and that among the attendees was Rappel leopardino with her coat and glasses upside down , that scares anyone, but I am very concerned about the limited capacity of calling for an opera really beautiful. Since there
Release
Valencia is complete without that Mrs. Helga give us some surprise, this time, three days before
same as usual without prior notice or subsequent explanation, was replaced on the website of Les Arts on behalf of the Tatiana planned Echalaz Amanda, by the Mataeva Irina, who was added and previously announced change over time of Anita Olga Rachvelishvili as by Olga Belkina . I do not know how the singers would have done absent, but the substitute, being benevolent, just say I do not highlighted. Helga
continues with its policy of Juan Palomo and artist names appear and disappear from the schedule without being ignorant that we pay the salary merit or a miserable note for guidance.
production has been brought comes from the Polish National Opera and features stage direction by Mariusz Trelinski , who as we saw last season his proposal for "Madama Butterfly" . As
at that time, the version now presented "Yevgeny Onegin" is characterized by its minimalist set design and is loaded with symbolism, playing an effective role Lighting Felice Ross . Overall I must say that I found the result positive, though very irregular, alternating inspired moments with others clearly failed, going into a tailspin from more to less.
Trelinski has chosen to include a character in
scene not included in the booklet: A mime (you know how much I like the pampering) painted in white who walks through the scene symbolizing a Onegin elder or spirit of it. At first the thing is his grace and gives great visual power of some scenes, like the symbolic thrust gives Tatiana doomed from the first meeting his unhappy love, but after a while, as I usually always pass mimes, just carrying the most painted and all you get is hindering monitoring of the drama. Nor
I liked the Cibeles catwalk was placed around the pit and the singers wore time
action to move there with this mania for the stage managers current jump "fourth wall" whenever they can. And I found particularly unfortunate that the final moment of the opera take place there, with the singers in front of the orchestra, seeing lackluster free music as much the result of the dramatic impact this essential piece.
By contrast, I found it very successful and intelligent approach of primary stage (Smashing the forest) and the second stage of grief, endowed with great simplicity, with a high aesthetic value and
enhancing the dramatic. But alongside this, unfortunately, the ugliness seizes the beginning of Act II, reaching its climax with the appearance of the character of Triquet ridiculously characterized as a pink frock coat electrogoblins that it all off is accompanied in his couplets for a with dodotis Cupids and a fairy who leaves a giant bulb which, as my friend pointed me, reminiscent of a failure of the sixth C.
The Polonaise that opens Act III is not
had better resolution, finding himself replaced by a bizarre parade of syncopated zombies in a room with ad painted porcelain or viejuna disco 70's, and the appearance of Tatiana -like femme fatale also helped give coherence to that.
Yet, as I said, I think the general overall result is not negative and critical aspects did not come to bother me enough to consider the proposal Trelinski rejected, although it failed because it was not completed successfully how it started.
Musically, there was great interest be seen as Omer Wellber facing his
second appointment in the pit of Les Arts leading the Orchestra of Valencia , following the successful debut "Aida" . In my view, Wellber has made clear that we have a good director also has the privilege of having an excellent staff of musicians to his position and the results obtained so far are very positive and hopeful for their future as musical director of the house. But it also has some things to improve, possibly product of his youth and the necessary break-in period and fit with the orchestra.
gave a reading Wellber passionate, neat and detail of the work, getting at all times maintain dramatic tension, and some
times of great intensity, as in the superb introduction of strings Lensky aria , and exhibited remarkable intelligence concertante . In his must be recorded has a volume which, together with some very powerful voices, he stopped so harsh on several occasions to the singers, especially Mataeva , with a final scene where the decibel rock chaos was too much, spoiling the result. Also seen some imbalances between sections, especially in the Polonaise, although this may be considered normal in a function release and is expected to be to be adjusted in future performances. Beyond this
performance Orchestra was superb, highlighting the warmth and density of the string and the accuracy of the metals.
El Cor de la Generalitat again to show off their great quality and, although
also appreciated some point gap with the gap, provided an undeniable performance, despite having to cope with some choreography mess cum laude. It has been inexplicably deleted this time Chorus of Peasants from the beginning of Act I, do not know if at the request of theatrical or musical director. Among the soloists
clearly highlighted of Lensky Dmitri Korchak. The Russian tenor does not have a voice that I find it particularly pretty, but showed exceptional musicality, a legato phrasing impeccable and beautiful, rich in nuances, his achievements "Kuda, Kuda" the most exciting of the night by far. Artur Rucinski
was quite correct Onegin.
I liked that in his recent role in Lescaut "Manon" . Presented a nice voice baritone who built firmly and loud enough to cope with the onslaught orchestral. He threw in a higher power failure in the last act and more involvement in terms of acting.
The surprise Tatiana Helga, Irina Mataeva was the big disappointment
night. Doing so not because it particularly bad, but is that a Onegin Tatiana without emotion that is not the same. The Russian soprano, from the Mariinsky , did not present shocking deficiencies, but her singing is too flat. His lyrical voice was moving comfortably in the central area, with more troubles in more committed levels, with a volume too Justito and especially with some expressive limitations that are incompatible with the character that needs to be credible move. Low
Günther Groissböck as Gremin , highlighted by its deliberate and forceful phrasing in her beautiful aria serious. However, it was pretty loose Lena Belkina as Olga . Helene Schneiderman
Larina was good and even better Margarita Nekrasova as Filíppievna , reaching depths
remarkable with its grave. Emilio
Sánchez as Triquet in its normal. Best paragraph in the voice acting, but rather did the man not to leave the stage crying after watching the embarrassing paint that had been awarded.
The audience, except the lady in the bag with velcro that came out of the room to run (possibly to prevent his lynching), welcomed everyone without exception, including Trelinski who attended the premiere, but had the biggest bravos by recipients Korchak, Wellber and Orchestra.
Despite the objections I've done, the sensation I left the theater which was very positive, having enjoyed a wonderful evening of opera, that was the perfect climax to a dinner with close friends that made us forget the cold outside and even the awful Rappel coat. Helga
Although not deserve the free publicity you do after how bad is the fan, and deep down I'm very good (and especially, as I know I will be able to pay even with petromortadelos ) From here I would encourage anyone who is wondering whether or not to attend to see this "Yevgeny Onegin" , or who have reservations based on ignorance of the work or the fact that imposes to deal with a "Russian opera" , attend, which will surely not leave disappointed. Tchaikovsky never fails.
Release
Valencia is complete without that Mrs. Helga give us some surprise, this time, three days before
same as usual without prior notice or subsequent explanation, was replaced on the website of Les Arts on behalf of the Tatiana planned Echalaz Amanda, by the Mataeva Irina, who was added and previously announced change over time of Anita Olga Rachvelishvili as by Olga Belkina . I do not know how the singers would have done absent, but the substitute, being benevolent, just say I do not highlighted. Helga continues with its policy of Juan Palomo and artist names appear and disappear from the schedule without being ignorant that we pay the salary merit or a miserable note for guidance.
production has been brought comes from the Polish National Opera and features stage direction by Mariusz Trelinski , who as we saw last season his proposal for "Madama Butterfly" . As
at that time, the version now presented "Yevgeny Onegin" is characterized by its minimalist set design and is loaded with symbolism, playing an effective role Lighting Felice Ross . Overall I must say that I found the result positive, though very irregular, alternating inspired moments with others clearly failed, going into a tailspin from more to less. Trelinski has chosen to include a character in
scene not included in the booklet: A mime (you know how much I like the pampering) painted in white who walks through the scene symbolizing a Onegin elder or spirit of it. At first the thing is his grace and gives great visual power of some scenes, like the symbolic thrust gives Tatiana doomed from the first meeting his unhappy love, but after a while, as I usually always pass mimes, just carrying the most painted and all you get is hindering monitoring of the drama. Nor I liked the Cibeles catwalk was placed around the pit and the singers wore time
action to move there with this mania for the stage managers current jump "fourth wall" whenever they can. And I found particularly unfortunate that the final moment of the opera take place there, with the singers in front of the orchestra, seeing lackluster free music as much the result of the dramatic impact this essential piece. By contrast, I found it very successful and intelligent approach of primary stage (Smashing the forest) and the second stage of grief, endowed with great simplicity, with a high aesthetic value and
enhancing the dramatic. But alongside this, unfortunately, the ugliness seizes the beginning of Act II, reaching its climax with the appearance of the character of Triquet ridiculously characterized as a pink frock coat electrogoblins that it all off is accompanied in his couplets for a with dodotis Cupids and a fairy who leaves a giant bulb which, as my friend pointed me, reminiscent of a failure of the sixth C. The Polonaise that opens Act III is not
had better resolution, finding himself replaced by a bizarre parade of syncopated zombies in a room with ad painted porcelain or viejuna disco 70's, and the appearance of Tatiana -like femme fatale also helped give coherence to that. Yet, as I said, I think the general overall result is not negative and critical aspects did not come to bother me enough to consider the proposal Trelinski rejected, although it failed because it was not completed successfully how it started.
Musically, there was great interest be seen as Omer Wellber facing his
second appointment in the pit of Les Arts leading the Orchestra of Valencia , following the successful debut "Aida" . In my view, Wellber has made clear that we have a good director also has the privilege of having an excellent staff of musicians to his position and the results obtained so far are very positive and hopeful for their future as musical director of the house. But it also has some things to improve, possibly product of his youth and the necessary break-in period and fit with the orchestra. gave a reading Wellber passionate, neat and detail of the work, getting at all times maintain dramatic tension, and some
times of great intensity, as in the superb introduction of strings Lensky aria , and exhibited remarkable intelligence concertante . In his must be recorded has a volume which, together with some very powerful voices, he stopped so harsh on several occasions to the singers, especially Mataeva , with a final scene where the decibel rock chaos was too much, spoiling the result. Also seen some imbalances between sections, especially in the Polonaise, although this may be considered normal in a function release and is expected to be to be adjusted in future performances. Beyond this performance Orchestra was superb, highlighting the warmth and density of the string and the accuracy of the metals.
El Cor de la Generalitat again to show off their great quality and, although
also appreciated some point gap with the gap, provided an undeniable performance, despite having to cope with some choreography mess cum laude. It has been inexplicably deleted this time Chorus of Peasants from the beginning of Act I, do not know if at the request of theatrical or musical director. Among the soloists clearly highlighted of Lensky Dmitri Korchak. The Russian tenor does not have a voice that I find it particularly pretty, but showed exceptional musicality, a legato phrasing impeccable and beautiful, rich in nuances, his achievements "Kuda, Kuda" the most exciting of the night by far. Artur Rucinski
was quite correct Onegin.
I liked that in his recent role in Lescaut "Manon" . Presented a nice voice baritone who built firmly and loud enough to cope with the onslaught orchestral. He threw in a higher power failure in the last act and more involvement in terms of acting. The surprise Tatiana Helga, Irina Mataeva was the big disappointment
night. Doing so not because it particularly bad, but is that a Onegin Tatiana without emotion that is not the same. The Russian soprano, from the Mariinsky , did not present shocking deficiencies, but her singing is too flat. His lyrical voice was moving comfortably in the central area, with more troubles in more committed levels, with a volume too Justito and especially with some expressive limitations that are incompatible with the character that needs to be credible move. Low Günther Groissböck as Gremin , highlighted by its deliberate and forceful phrasing in her beautiful aria serious. However, it was pretty loose Lena Belkina as Olga . Helene Schneiderman
Larina was good and even better Margarita Nekrasova as Filíppievna , reaching depths
remarkable with its grave. Emilio Sánchez as Triquet in its normal. Best paragraph in the voice acting, but rather did the man not to leave the stage crying after watching the embarrassing paint that had been awarded.
The audience, except the lady in the bag with velcro that came out of the room to run (possibly to prevent his lynching), welcomed everyone without exception, including Trelinski who attended the premiere, but had the biggest bravos by recipients Korchak, Wellber and Orchestra.
Despite the objections I've done, the sensation I left the theater which was very positive, having enjoyed a wonderful evening of opera, that was the perfect climax to a dinner with close friends that made us forget the cold outside and even the awful Rappel coat. Helga
Although not deserve the free publicity you do after how bad is the fan, and deep down I'm very good (and especially, as I know I will be able to pay even with petromortadelos ) From here I would encourage anyone who is wondering whether or not to attend to see this "Yevgeny Onegin" , or who have reservations based on ignorance of the work or the fact that imposes to deal with a "Russian opera" , attend, which will surely not leave disappointed. Tchaikovsky never fails.
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