Il Trovatore burns en el Teatro Real


 

Il Trovatore burns en el Teatro Real
THE TROUBADOUR
Giuseppe Verdi (1813-1901)
Dramma in four parts
Salvadore Cammarano libretto, based on the play
the troubadour (1836) of Antonio García Gutiérrez
D. musical: Maurizio Benini
D. scene: Francisco Negrín
Escenógrafo y costume: Louis Désiré
Lighting: Bruno Poet
D. choir: Andrés Máspero
Distribution: fiber Gerzmava, Artur Ruciński, Marie-Nicole Lemieux, Piero Preti,
Roberto Tagliavini, Cassandre Berthon, Lara Fabian, Moses Marin, Sophie Garagnon
El Teatro Real estrena Il Trovatore, one of the most popular and emblematic Verdi operas from the time of its release, and does so in co-production with the Opéra de Monte-Carlo and the Royal Danish Opera Copenhague.Fue made the same year as La traviata and Rigoletto, but Trovatore already contains the bel canto drama that evolved in later operas. Technical changes and vocal, start this period belcanto, the transition from youth to maturity of italiano.Otra master of the reasons why Il Trovatore is a fetish opera is the vocal challenge for singers. Partly, so it is written in the score and partly because it is not written, and that, by tradition, is sung. Many of the difficulties of the work, actually, They are not written by Verdi, but many singers who carry out. One such example is in the second cabaletta of Leonora in Act. In the version shown at the Royal Theater, interpreted, what makes this extremely difficult role. According to the master Benini, once this fragment was omitted at the request of the singer difficulty. Benini considers it necessary to keep "because the very form of the bel canto demands respect this structure, arc composed recitativo - aria - cabaletta. If we cut the cabaletta, we cut the melodic arc. "Another of the elements belonging to tradition is the famous Do Manrico in the aria from La pira. Actually, Do this appears penciled in the original score, but it was written by Verdi, It was added later. And the belcanto has always required an evolution of vocalism. It had to be faithful to these principles and demonstrate bel canto virtuosity of the singers and, maybe, I should also be reflected in writing, hence its incorporation, added as, to scores. But originally it does not appear.

The endiablada vocalism of Trovatore required, as Verdi himself, the participation of five singers of the first order. Not only the tenor and soprano, all must be the best singers at that time for these roles. For this production of Teatro Real, more concretely, the second division, this requirement is not met.

Also the script has been controversial for its convoluted plot. A succession of scenes impossible and difficult to understand and monitoring by the public. All the passions unleashed among the four main characters, and a gypsy curse, a troubadour, false son of the gypsy, an evil count and a lady, Leonora, to which the two protagonists seek. Love, her spell revenge and, are the main arguments of the libretto by Salvadore Cammarano that, his death, Verdi wanted to respect without making any changes in.

Stage director Francisco Negrin has taken fire as conductive element and protagonist of the scenery. Has a large presence throughout the work and represents a past that burning the possibility of present and future. for Negrin, We all have a burden of the past that affects us and affects our lives.

Dark and suffocating atmosphere that is achieved is the perfect item where the ghosts of the past of the characters are developed that mix with them. A darkness that is maintained throughout the work and ends resulting uncomfortable for the viewer. Especially in the first part, which it became soporific. A stage with little or no originality and little details that contributed to the work.

The great success of this production came from the pit. Maurizio Benini experience with the Verdian repertoire are those that grow confidence in both the orchestra and the singers. important element, The chorus, It was less more to finish dramatically.

Azucena of Marie-Nicole Lemieux was correct in interpreting, with a powerful bass accentuating the dark nature of the character. But it turned out a little screamer moments and a somewhat coarse ridge line d.

The Manrico Piero Preti went dwarfing as the work progressed. His timbre is nice but the feeling was weak, also in interpretive.

Roberto Tagliavini gave a more consistent picture of Ferrando, like the Count de Luna Artur Rucinski, that accompanied its powerful bass with good stage presence.

The most applauded of the evening was the Leonora of Hibla Hibla, with a ridge line more than correct, He endowed his character sensitivity and elegance.

With this work the Royal Theater celebrates another great success with his opera week, event that has already become traditional.

Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

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