Con The Pearl Fishers, Georges Bizet places on record, through his music, new artistic currents that were developed in Europe from the second half of the nineteenth century. Literature, painting and, music course, They reveal a new aesthetic.
He lyrical drama, genre characteristic Second Empire, It distances itself from the political and social conflicts to enter into individual events and costumbristas. Faced with large and complex sets and multitudinous Tablets, drame lyrique focuses on the intimacy of the characters and their amorous passions.
With Pearl Fishers, Bizet enters the exoticism prevailing at that time. Exoticism that will develop up to Carmen.
There are few occasions that play in Madrid to the Peruvian tenor Juan Diego Florez. The last time 2010, By participating in Sledge. Also in concert version. And it is even more difficult to see him as an actor.
Flórez always raises great expectation in Madrid and was once again revealed to the paper run out lockers nothing offered for sale.
And Florez did not disappoint his audience, but neither can rate their extraordinary performance and round. His instrument remains intact, almost perfect, and his voice is still light, air, homogeneous, released, penetrating, although they not appreciated that night Bronzing their high notes.
But nevertheless, It was full of insecurities throughout the first part. He was not comfortable and you could tell.
Nothing to do with their bel canto performances. And perhaps that is the reason for insecurity. The role of the fisherman Nadir did not allow him to show firmness of his usual vocal line.
The second and third acts were solved better than the first. Thanks mostly to duets with Patrizia Ciofi, where his voice and his confidence soared.
He risked just what Juan Diego Florez in one night than expected, as on other occasions, unforgettable, but this time seemed to be unfinished. Always it expected more from one of the best voices of the international opera scene.
Light soprano Patrizia Ciofi, which it seems to be a good eternal moment, exerted, in his role as priestess Leïla, perfect replication his castmates. His big voice, sometimes delicate, He showed occasional shrillness and begin to notice the lack of a voice approaches, inevitably, a clear wear. But none of this prevented that would achieve great moments. It was secure its role at all times, perhaps excessive in some gestures, but his interpretation was the most applauded.
Marius Kwiecien It began with serious problems and it was not until the beginning of the second part, when he warned the public of his throat problems. Even so, and as always in deference, He played his role to the end. Too bad not being able to hear in its splendor to this Polish baritone who already know from his recent performances for Real in Le nozze di Figaro, Eugene Onegin and Król Roger.
The brief role of Nourabad, defended by the young under Italian Roberto Tagliavini, He caused me to pass almost unnoticed, If it were not for his imposing stage presence. But it provided a clue why it is one of the most sought low lately at major theaters.
The chorus, he received a deserved standing ovation from the audience, rang tuned, powerful and tempo in one of their magnificent performances this season. It is already an essential and recognizable player in each representation.
The musical direction of the Israeli Daniel Oren It was quite discreet. The orchestra sounded slow and excessive, almost like gestures. Lack of delicacy and lyricism that requires score.
Georges Bizel (1838-1875)
28 of March, Teatro Real in Madrid
Opera in three acts in concert version
record: Michel Carré are Eugene Carmon
D. musical: Daniel Oren
D. choir: Andrés Máspero
Leila: Patrizia Ciofi
Nadir: Juan Diego Florez
Zurga: Mariusz flowers,
Nourabad: Roberto Tagliavini