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"L'Elisir d'Amore" (Gaetano Donizetti) - Palau de les Arts - 26/03/1911

Last Saturday took place last night's premiere of this fleeting season in the main hall of the Palau de les Arts in Valencia, with the opera Donizetti "L'Elisir d'Amore ". Still be an opera, "Mefistofele" by Arrigo Boito of , but will be performed in concert and in the fatal Auditorium.

This "Elisir" is a co the Palau de les Arts and the Theatre Royal, and, in view of the programming line has imposed Mortier friend, I fear in Madrid going to take awhile to be visible.

The stage direction is provided by the Italian Damiano MICHIELETTO and start making it clear that I liked. It has moved the action of the Italian farm script to a bar on a Mediterranean beach, where Adina is who runs it, the reapers are families of swimmers, sailors, soldiers are on leave and the fake doctor Dulcamara melts beach in a cool, energy-drink seller, which is dedicated to peddle drugs. In fact, the elixir is replaced here with a bag of white powder , they have to mix with water then the script makes sense when it comes to "the bottle is shaken, it uncovers ..." , although subsequent references to wine in Bordeaux no where to catch them. Read and you make your hair stand on end to anyone, but the end result was very satisfactory.

is true that you can make enough repairs, and the purists criticize certain licenses, probably rightly, but the fact is that the public had a great time, myself included, already know that I usually supremely bored with this opera, and gave the impression that they were on stage were also enjoying their work. And that end is what matters.

MICHIELETTO has raised a proposal highly fresh, colorful, dynamic and entertaining. Maybe too much fun. Because the main point that can be criticized, precisely, is that too much visual information is offered, excessive levels of action, which tends to distract the audience from what really matters. As Nemorino tries to win Adina , some are aerobic, others play football or eat up rice baked in a bikini, and almost impossible not to finish the attention away from the purely musical.

Another critical to my trial was the decision that Nemorino sing the aria "A Furtive Lagrima" climbed on the roof of the snack bar. I found aesthetically appealing while embracing sang Adina name in neon-lit and at the end of the aria were gradually turning points, but I think it was the best location to project your voice, and, above all, I It is outrageous that they should do appear to Adina wandering stage before Nemorino end his melancholy aria.

Nemorino is not listed here portrayed with a features as charged village idiot as in other productions, but their difference from the other characters has further widened from a social perspective, as no resources type of guy that works for everything.

Al
positive outcome also contributed decisively to the excellent lighting Alessandro Carletti, creating the atmosphere required at all times and showing the passage of days with intelligent lighting shifts.

Like any self-respecting beach bar, a brand of beer, another cola over ice cream and have permanent advertising in sight, with what I imagine as Helga has taken a dusty ayudilla for their coffers, and not be ruled out as a system imposed on future earning mounts, so any day we see a Scarpia shirt advertising a fried tomato. As a friend told me over dinner "for a moment I thought that when Vargas came to sing the Rogue Tears would say: Little Cola Light is sponsoring the aria" .

I've said on occasion, but again I do not seem well licenses in the translation of the subtitles. I think it should be limited to simply translate what is said and if squeaks or so, to take the stage director inconsistencies that may exist, but, even silly, to change the script shields and duchies of euro, it seemed an absurdity.

In the musical section, Wellber conducted with the usual fanfare and hyperactivity to a Orquestra de la Comunitat Valenciana that, once again, it sounded incredibly well, despite the dislocations and specific imbalances that are already common in the premieres, and that there was some precipitation in the tempi. Soloists in their interventions the bassoon Salvador Sanchis, Magdalena Martínez the flute and José Ramón Martín the fortepiano. We must also praise continued playing the bass that stoically enduring the sudden shower of foam that came to them from the stage at any given time.

deserves special mention for the fantastic today Cor de la Generalitat. And this time even further, because its good performance in the musical field must be added an impressive stage work, enormously demanding, combining the song with the many beach activities imposed by regia. And not only did well, but also evidenced that they were having pipe.

With the solo vocal quintet think it has achieved the highest level and homogeneity of the season, and even seemed a bit cold start, eventually all of them put together some fantastic performance, beginning with an immeasurable Ramon Vargas .

Mexican tenor was less than starting a little uncertain, but eventful ending. Displayed his quintessential art, displaying a beautiful singing line, a capitalized and highly expressive style. It is a pleasure to hear tenors today who are able to sing so beautifully without shouting or fuss, pure outlining bel canto legato based and musicality. The long awaited moment of the famous "A Furtive Lagrima" has already been filed in my memory as one of the magical moments spent in this theater. Vargas raised in this passage the bar even higher and marveled at a prodigious and incredible fiato melodic elegance, carving a magnificent aria, his voice was projected with extreme delicacy, as if they glide slowly across the room in an invisible carpet silk, culminating in a sublime end, where the emotion is completely overwhelmed. Pity the fool typical shift break the spell starting a tune when the music bravo had not stopped ringing.

Aleksandra Kurzak Adina wrote a solvent very involved in voice acting and looking pretty and cool, although it is rather small. Some shortness was observed in the acute, and some tuning problems, especially in the first act, but their overall performance was remarkable, solving the complicated the second act coloratura cleanly and precisely.

I know that now seems to speak well of Erwin Schrott is almost frowned upon, but it is impossible not to praise the charismatic Dulcamara that creates the Uruguayan. Borda's character, here turned into a pimp beaches with shady drug. Showcased his booming voice of great volume, with some very deep resonance, and a very good speech. Now in its entrance aria, "Udit, Udit" , scored the first brave the night and, from there, it grew even more, especially in the acting, which is a master. He eats quite the scene unfolds with tremendous ease. The problem is that the goose is too, putting much emphasis on the facet of actor who is hampered in many times the phrase, commonly impost loss.

Capitanucci Fabio was also a great Belcore . Never heard him live and there was not a very good references I gave him, but I must say that I really liked. Presented a powerful voice, smooth and robust, which projected smugly, with strong bass and dramatic performance was more than acceptable.

Also notable is the Gianetto of Mataradze Ilona. The young Georgian soprano oil took this short paper, wearing a really nice voice and well placed, being very wise in their interventions with the choir, and conducting a tireless stage work throughout the work as a waitress Choni : bartending , washing dishes, cleaning tables, from the butt and creating a lively dance at the end of the first act on a table.

As said earlier, the audience had a great time and proved it with loud applause for all participants both musical and theatrical, with Erwin Schrott who garnered the most fierce in one of the loudest ovations I've heard in this theater.

I think it was the first time in Les Arts announced over the loudspeaker function before and after the breaks do not forget the audience to turn off mobile phones. And the warning came to fruition. I did not hear a damn soniquete all night, something rare in this theater.

Many coughs, yes, as always. Although the worst came to end when the applause began a long time before the end of the music, depriving others from hearing the closing stages, to then immediately go to the race which herd of buffalo stampeding cystitis.

I will not end without mention to the X-Files night. Upon completion the long applause after Lagrima Rogue is clearly heard in the orchestra sound amplification fitting. I said it seemed that it was the fortepiano that had some kind of sound support. I do not know anymore.

Other views: Titus , Maacah

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EXHIBITS IN VALENCIA DAVID Rocabertí

Madrid photographer David Rocaberti will inaugurate, on 24, in Valencia (at 20 pm in Ruzafa Municipal Board, c / Matthias Perelló n º 5-7) an interesting sample of his work.

I've had opportunity to talk about his work in the post that I spent with reason for his earlier presentation in this city in 2009. Since then Rocaberti has continued its relentless work, camera in hand, and there have been successful exhibitions of his photographs in different cities. Now go back to Valencia and return to take this opportunity to recommend to all lovers of photography and visual arts who come by, until 8 April, to enjoy their creations.


I do not get commission, and I will get more ham at the opening by doing this review and not even the photographer knows that I am writing this, but when there are interesting cultural initiatives in this city, I consider justice to mention this, especially when official channels observed a silence that portrays (pun intended) their ignorance.

Since I knew the work of Rocaberti fascinated me strength visual and artistic value, their ability to discover a camera trigger the exceptional in everyday life, getting caught in her images visual beauty that surrounds us, unrepeatable moments captured forever.


behind these pictures there is a careful work that goes far beyond shooting later snapshots to find the best, but while avoiding the tricks and edits. We are not an artist who fits the natural shape and its particular worldview, but simply a witness to what happens to our around, but whose keen eyes alert and active contemplation, attains to see what others often do not stop to observe and which seasoned hunter, he was arrested in his room for us.

The Rocaberti secret is so simple and so extraordinary at par, as the experience of a true professional who knows how to place your target at the time and place where the Indeed, in a natural and casual, will be organized in harmonious visual composition, making fleeting poetic look at artwork for continued enjoyment of our senses. Robert Doisneau once said that the discipline closer to the photograph was poetry, and Rocaberti has come to Valencia to prove he was right.

The exhibition of photographs by David Rocaberti can visit in Valencia from March 24 to April 8 at the Municipal Board Ruzafa (c / Matthias Perelló No 5-7), from 10.30 to 13.30 and from 16.30 to 19.30, Monday to Friday.

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"The tree of life" - Gustav Klimt - 1905.

The blog entry today is going to be a little different. I will not criticize Helga Schmidt, or let loose any roll, but I just wanted to publicly share a few songs, on a day that is special to someone very close, in order to serve as a thanksgiving and dedication.

A dedication to someone through whom each new day is full of meaning for me and will to live and to share with her the experience. Precisely

"Zueignung" (Dedication) is the title of the first of lieder I bring. It was composed by Richard Strauss to 18 on some verses by Hermann von Gilma and is the first of the eight songs that comprise his Opus 10. I chose the interpretation of Elizabeth Schwarzkopff because, besides making it great, was the first singer to whom I listened to this Lied:

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"ZUEIGNUNG"
Yeah, you know, dear soul,
that away from you torment me,
love makes the heart sick. I thank
!
One day, drunk on freedom,
lifted high the cup of amethyst
and you blessed the drink. I thank
!
conjure evil spirits and
until I, as never before had been,
sanctified, sanctified, I fell upon your hearts. I thank
!

We now back in time to meet none other than Ludwig van Beethoven and lied "Zärtliche Liebe" (Tender love) , composed in 1795, when he was 25 years with text by Karl Friedrich Herrosee . Can be heard in the stunning voice of baritone Dietrich Fischer-Dieskau accompanied by pianist Jörg Demus in a recording from 1966:

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"ZÄRTLICHE LIEBE"
I love you as you love me
at night and morning.
There was a day when we
not to share our problems.

do and when are carrying easier:
you to comfort me in sorrow and I make mine
your laments.
Therefore, may God bless you
, joy of my life
May God protect you, keep you for me,
May God protect us and keep us together.

"Du Bist die Ruh (You are the rest) was composed by Franz Schubert in 1823 on a poem by Friedrich Rückert . The lied is the third of four that comprise his Opus 59, and the interpretation chosen this time has been one of the great British contralto Kathleen Ferrier :


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"DU BIST DIE RUH"
You are the rest Peace
nice. You are the nostalgia

and the quiet.

consecrate myself to you full of joy and pain. Here you will find their abode

my eyes and my heart. Come into my house

and closes behind you

doors carefully. Despite

Ejects all this chest!. That

fill my heart with your bliss.
This temple has enlightened eye

you just glow.
Oh, fill to the brim!

Felix Mendelssohn wrote in 1835 "Gesang des Flügeln Auf" (On the wings of song) , with texts by Heinrich Heine . It is possibly the best known lied of its author, and we can hear the wonderful interpretation of Victoria de los Angeles :

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" AUF DES FLÜGELN Gesang
On wings of song,
my love, I'll take
to the banks of river Ganges,
where I know a wonderful place.
There is a garden of red tinted silent
under the moonlight;
lotus flowers
expect her beloved sister. Violets have fun

and observe the stars;
secretly whisper in his ear
scented stories.
be attentive approach and discreet
the gentle gazelles roam and far

the waves of the sacred river. There
posaremos us under the palm tree

to savor the love and peace
and dream happy dreams.

I end almost like I started. With Elisabeth Schwarzkopff playing another "Dedication" , in this case "Widmung" (Dedication) the lied that Robert Schumann composed in 1840 on the lines of Friedrich Rückert :

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"Widmung"
You, darling, you, my heart
you, my delight, oh, you, my suffering;
you're the world where I live,
the sky in which I float,
oh you're my grave, within the
bury me for all eternity my worries!
You are the rest, you are peace,
you what heaven has given me.
That you love me, make me worthy,
your gaze transforms me, loving me
rise above myself,
my good spirit, my better self!

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Concert al'Auditori Castalla, El cannot dels Metalls

Next Saturday March 26, 2011 at 20:00 you can enjoy the concert METALS OF THE SINGING, by Luis Gonzalez (trumpet), Ximo Vicedo (trombone) and Pepe Galician ( piano).

This concert will have a varied and entertaining programming to the public. Interpret works for trombone and piano, trumpet and piano, and trumpet, trombone and piano. The program we are going to interpret it:

Canzoni THE FINET for trumpet, trombone and piano ; ; GB Riccio

Duo Lakmé Flower for trumpet, trombone and piano ; L. Delibes (1836 - 1891)

"1969" for trumpet and piano ; ; ; A. Pedro Sanchez (1969)

Piece in Mib Mineur for trombone and piano ;                 J. Guy Ropartz   

                                  

All Mañanitas "Don Gil de Alcalá" for trumpet, trombone and piano M. Penella (1880-1939)

Neapolitan for trumpet and piano ; ; Oskar Böhme

Sang For Lotta para trombone y piano Jan Sandstrom

Andalusian Parts for trumpet and piano ; ; ; Santiago Baez (1982)

I-Bulerias del Guadalquivir II-Midnight circular

Elegie for trombone and piano S. Rachmaninov (Arr.V.Venglovsky)

Barcarolle from Tales of Hoffmann for trumpet, trombone and piano J. Offenbach

Les Noces of Many for trumpet, trombone and piano J. Rafael Pascual Vilaplana (1971)

Wait gaudixquen d'Aquest concert. Us wait for me.

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Wilhelm Furtwängler (3) Wilhelm Furtwängler

This rivalry with Von Karajan, invented, it was to the very core of your being. Furtwängler lived and breathed the music of such a profound way, for example, constantly directed imaginary orchestras while walking. Furtwängler had dedicated his life to perpetuating the traditions of German culture, which had been immersed since his early youth and which had become its most visible champion. German music was the only reason for existence. In fact, in 1938, after the annexation of Austria, although he was overwhelmed by the amount of work, increased their obligations by taking over all the musical activity in Vienna, because he felt an obligation to preserve the proud musical tradition of this city and, in particular, independence and excellence of its famous Philharmonic Orchestra, which was threatened by state control.

The Nazis needed both Furtwängler and he needed to Germany. Hitler greatly admired his skill. The party itself knew that Furtwängler was the main symbol of ancient glory of German culture and that its loss would be the final blow to national prestige, which would validate all the foreign criticism.

By this time the consistent Furtwängler takes advantage of the respect that the Nazis were forced to pay taxes. When he had contracts with terms of style, "only Aryans", refused to sign, and went even further, picking the promoters to highlight Jewish members of the orchestra as soloists. At one point, when ordered to replace its Jewish violinist, threatened to cancel all his appearances. When it imposed the ban on employment of Jewish artists in live shows, Furtwängler demanded a meeting with propaganda minister, Goebbels, to veto the order. The Berlin Philharmonic was about to be "aryanised", and met personally with Hitler to reverse the decree. (Of course, all these measures were later revoked, but this does not detract at all the value it had at the time).

Despite what seemed to the outside world, Furtwängler did not cooperate.

never made the Nazi salute, even when Hitler himself was present at a concert. In general, refused to act in classrooms where swastikas had been deployed. Avoid appearing at official functions. He declined to conduct orchestras in occupied countries. Never started his concerts with the Nazi anthem. And never presented patriotic-themed works socialist flooded other concert programs.

The fact that Furtwängler had his way in such conduct "traitor", accounts for the esteem he had the party and the people.

Furtwängler's relationship with the Nazis in 1934 was clearly defined when you set the new opera by Paul Hindemith, "Mathis der Maler." The composer's wife was Jewish, and therefore their music, although he still had not heard, had been automatically condemned as degenerate. The script (the work of Hindemith) probably did not help. The main character was a visionary painter trapped in a civil war, desperately seeking a way to apply their talents to the betterment of mankind. Despite the atmosphere of this medieval opera, its focus on the obligation of the artist's embrace of constructive social issues was painfully modern and the Nazis certainly understand the challenging parallels with the history of time-perhaps the very reason why Furtwängler decided to submit a opera that spoke so directly in their own lingering concerns.

When Göring banned the book, Furtwängler replaced it with an orchestral suite of the time. This concert was hailed as a real focal point for anti-Nazi frustrations. Furtwängler later published a lengthy article in defense of Hindemith, which insisted that the ideology was irrelevant and that the only criterion was valid aesthetic quality of art itself.

state media, led by Goebbels, attacked him, insisting with the same vigor that only ardent Nazis could be true artists.

Overwhelmed and sick by the repressive ideology of the Nazi regime, Furtwängler resigned all positions (except, of course, the "Staatsrat" life), and devoted himself to composing, directing his gaze longingly overseas. And this was when it appeared the timely supply of the New York Philharmonic.

During the following months, Furtwängler felt broken, deprived of the means to promote German music (which he himself was his guardian). But the government was also very annoying: there was low attendance at concerts substitutes, subscribers demanded they return the money, the orchestra was mired in deficit and the foreign press took advantage of this incident to denounce the oppression of a regime that apparently had to silence his most prominent artist.

Finally everything was resolved when Furtwängler agreed to publicly acknowledge the primacy of artistic policies of Hitler (he could hardly refuse) in exchange for being allowed to work for self and never had to accept a political position or acting in any official capacity. As expected, state media reported on it as a full capitulation by Furtwängler, and never mentioned the remainder of the agreement.

But Furtwängler did not simply withdraw into themselves or into the sanctuary of art. But, according to several testimonies, unfolded an enormous moral courage, putting in jeopardy his life and reputation. During the next ten years he spent much of his time speaking with party officials in almost impossible task to protect and rescue potential victims seeking help, including professional foreign enemies. Although evidence is often anecdotal, the archivist Fred Prieberg argues that only his research has documented more than eighty people at risk who were saved through the efforts of Furtwängler.

While external passivity Furtwängler (crushed by the Nazis distorted news) was interpreted abroad as a "collaboration", we now know that his quiet heroism saved many more lives than the abrasive rant or symbolic migration. As rightly pointed out Paul Minchin, president Wilhelm Furtwängler Society: "It takes more courage to oppose a totalitarian regime from within." It is clear that Furtwängler had at least a lot more courage than the self-proclaimed defenders of humanity who labeled him a coward who threw all his verbal grenades from the safe harbor of the free world.

So helpless Furtwängler was a saint? Not quite. Unfortunately there are not so commendable side of its activities during the war.

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Translated:

Peter Gutmann: Wilhelm Furtwangler, Genius Forged in the Cauldron of War / in: Classical Notes

Para ver el art. original: Click Aquí

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DEDICATION "Parsifal" (Richard Wagner) - Gran Teatre del Liceu - Maid of Orleans

Last weekend I organized a trip to Barcelona with the purpose of fulfilling a debt that was outstanding myself. Going to the opera at the Gran Teatre del Liceu.

Despite having visited and a few opera stages in different countries, meeting with the Coliseum Barcelona had always been frustrated by some or other causes. One of which I remember it was his unfortunate fire (the 1994, not 1861). But this time, with the best excuse of a Wagner Parsifal was the right time to not further delay the visit. And the fact is that the elements did not help much, because on Saturday 12 day of the show, was continuously pouring in Barcelona since dawn, but ultimately the group "rebellious" until we moved here we were able to time to the theater and enjoy nearly five hours really unforgettable, especially in the vocal section.

To make matters worse, friends Joaquim and Colbran, pro high school students, were kind enough to show the corners of this beautiful theater, was exemplary in many aspects and particularly on two called me especially notable for its enormous difference to someone who takes me closer: the atmosphere of their spaces and the feeling that everything is designed to serve and assist the public, not for vanity or egos of architects Governors.

has been a real lucky also that this visit had been prepared to assist the ultimate representation of this "Parsifal" , which, today, I am convinced it will be one of the most important productions those who spend this season for the operatic stage. And, although it has said almost all of these functions, I wanted to tell you today my impressions, but reach more delay would have liked.

is a coproduction of the Gran Teatre del Liceu with the Zurich Opera House, which had devised by stage director Claus Guth German , musical director of the current holder del Liceu Orchestra, Michael Boder and a solo cast very homogeneous and high level.

The proposed Claus Guth, who has already made rivers of ink, can be questionable in principle, but is aesthetically captivating and undoubted dramatic force. From a theatrical point of view impeccable. Its scenery, decorated with a rotating on two levels, and carefully prepared and detailed direction of actors, give this production an extraordinary freshness and dynamism. Light is another key element of this staging in the shadows play a very important expressive role.

The long monologues Gurnemanz are reinforced with stage movement and direction of actors very smart and very effective, without distracting the viewer from the speech, consistently with the same and while avoiding the monotony other approaches that more introspective and sometimes minimalist incurred.

The action is set in the years following the First World War in a hospital occupied by German soldiers wounded, physically and mentally, being Gurnemanz the chaplain of the institution. Despite its space-time translation, I think is quite friendly with the essence of the original libretto, and this even when it has some very important licenses, at least for me, I came to bother me, although I understand that may be debatable .

Perhaps the biggest drawback of this stage direction is that, although it very clear the message you want to convey and in the end everything comes the meaning intended by the regista , leaves the viewer too long disoriented without really knowing what they are trying to tell. I do not care, because, as I said, there was a very elaborate work with the actors and it was very appealing aesthetically, but if one tried to question the ultimate meaning of everything it'll be lost trying to guess what finally becomes clear.

bad thing is that precisely this message is has been more controversial, with the appearance in the final scene of Parsifal hailed as a redeemer and dressed in a Nazi official, thus heralding the advent of the fascist dictatorship liberation of a people physically and emotionally shattered Germany after its defeat in the Great War.

other critical aspects are that it does not end Klingsor Parsifal destroyed or Kundry not die but runs away with a suitcase scene, reminding us too much like a frightened Jew.

Guth has also included a prologue and an epilogue scenic. While playing the end of the Prelude of the first act, we are shown a scene in which we, as an introduction to what will come next, and choose Titurel Amfortas and Klingsor successor and left the meeting angry. Then, while sounding chords end of the opera, see how Klingsor (live) is reconciled to Amfortas.

Either way, focusing on the above, I think that of Guth a very interesting stage direction, coherent and conceptually dramatic and sweeping.

the musical direction of Michael Boder presented no remarkable innovations away from alleged geniuses, not exhibitionism in tempi , but keeping the main thing, continuing the dramatic tension, which in a work of such colossal proportions is highly commendable. In my opinion lacked a little claw in the second act and a greater variety of shades, especially in the first act, taking advantage of volume in the Prelude, but the third was quite remarkable.

The Orchestra of the Liceu , without entering into comparisons with other groups, had a good performance. It is true that if this function is in the memory not for the brilliance of orchestral performance, but at least the pit not tarnished at all the magnificent spectacle that was unfolding vocally on stage, and at times sounded especially However, as in the beginning of the third act, Parsifal's arrival , where the rope reached its best performance, achieving the warmth and emotion that the piece requires. Woods and percussion worked with acceptable accuracy and metals, while offering the worst performance of the orchestral ensemble, saved, somehow or other, the demanding requirements of the score, although in the last act was noted there was an obvious decline and more mismatches .

The Cor Gran Teatre del Liceu and Cor de Cambra of Palau de la Musica Catalana wore a high level, the better the male than female, where the sopranos were not exactly a night inspired and above were adversely affected by the incomprehensible decision to locate internal choirs. The moment important by far that I thought gave us the male chorus in the third act with the body of Titurel .

Best of the night was the general level of all the vocal soloists, with some interpretation that deserves honors.

For me, the most pleasant surprise this "Parsifal" was the lofty Gurnemanz who gave us the low Hans-Peter König. I had never heard this man live, and since its opening sentences, let me completely catatonic. Exhibited a strong voice and solid, with some serious weight, very strong. And above all, a perfect phrasing, beautiful. Salminen revived. To all this he was joined titanic resistance, although the break after the first act came when he looked almost to the limit. A "Parsifal" which fails any of the players may be more or less disappointing, but if Gurnemanz failure can become a pestiño. And conversely, a Gurnemanz König as the greatness of the work of Wagner shines in all its splendor.

The second big surprise was First Jerkunica , a Croat who had not heard before and chiseled, with a very deep voice, almost cavernous, the real low, a reference Titurel, also undertaking a majestic performance and making this brief a key role in the drama and a huge delight for the senses.

The Italian soprano Anja Kampe-Germanic also offered a stunning and vocally acting behavior found the superb, with great expression and showing a great song line. Faced with enormous courage the fiendish tessitura of this role, displaying a voice of great extent and homogeneity of true dramatic soprano, with bass and treble round stratospheric well targeted, regardless of any tensions occasionally. An extraordinary Kundry.

Klaus Florian Vogt is a singer who has his fans and detractors. I this time I am forced to put myself in the middle. His voice almost devoid of harmonics and white I think it clashes with the Parsifal innocent and pure, but clearly lacks the bright spot of heroic tenor I I demand the role, especially in second act, and that grates me a lot. To this must be added a certain coldness and lack of energy and emphasis on phrasing. But having said all that, I have to admit Vogt sang splendidly. His voice exudes musicality and runs with elegance and ease, clean, very clear, projecting with a surprising lightness and eventually conquer. Parsifal is a "sui generis" , but offers a much more interesting than a priori expected of him, but I still think the second act comes large.

Alan Held was a fabulous Amfortas in terms of acting. Was less than in vocal performance, showing entregadísimo at all times, combining power and refinement, and conducting a very creditable performance.

I did not like, however, the Klingsor of Boaz Daniel . He was very insecure and lacking in vocal authority. The grave is choked and was covered by the orchestra on several occasions.

And the flower-girls best forgotten. They should have called chicken-flower . Since beginning his speech had the losing battle with Parsifal. It was impossible to seduce the hero got such a pure display of screaming and cackling in chaotic disorganization.

The audience, which almost completely filled the theater, gave standing ovations to all participants, appreciating more fierce intensity for König, Kampe and Boder .

I had the opportunity to see action this side of the singular subject of the fifth floor, which I had heard that bravea like a man possessed everything that moves. This character persisted in his bravos and applause at curtain down and lights on and he joined a small group, and did not stop until they came out to greet Kampe and Vogt , while in the theater were just a hundred people. The faces of both, rather than satisfaction, were stunned when they found that the Liceu was nearly empty and all that scandal was work of four Chalao .

At the exit, it was raining heavily on Barcelona, \u200b\u200bbut nothing stopped the evening had a superb climax to a wonderful dinner, which Colbran was generous enough to invite us, and a nice walk and talk back on the already dwindling rain as long as the emotions of a day really intense.

Many thanks for everything, Joaquim and Colbran. We will return soon. As late as in July, to see the Westbroek.

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