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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