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.
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.
video
LiceuOperaBarcelona
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