With La Damnation de Faut season concludes Palau de Les Arts in Valencia

With La Damnation de Faut season concludes Palau de Les Arts in Valencia
The Damnation of Must

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The Damnation of Must (The Damnation of Faust) Hector Berlioz, He has closed the season at the Palau de Les Arts in Valencia. A season especially complicated by the resignations of Davide Libermore and Fabio Biondi. The Damnation of Must, It is a little-scheduled, despite his extraordinary musical quality, which usually are usually offered in concert, and in this case it was staged, with moments of undoubted interest, with others where excess prevail in the visual aspects. Definitely, the big winners of these representations have been the Orchestra of Valencia, and the Choir of the Generalitat Valenciana, next to the Choir School Boards Have Quart de Poblet and the Choir of the Virgin of the Helpless. Also noteworthy is the performance of Silvia Tro Santafe mezzo as Margarithe. Y, the extraordinary stage performance of low Ruben Amoretti in Mefhistophélès.


Hector Berlioz (La Côte-Saint-André, 1803 - Paris, 1869), still very young, had the opportunity to read the Should Goethe, in the French translation of Gérad de Nerval, and composed in 1829, Eight scenes from the life of Faust: 1.- "Songs of the Feast of Easter (Cantos Easter Festival)”, 2.- "Peasants under tillens (Peasants under the lindens)”, 3.- "Concert Sylphes (Silfides concert)”, 4.- "Écot of joyeur companions. Story of a rat (Presence of merry men. Story of a rat)”, 5.- "Song of Mephistopheles. History of a chip (Song of Mephistopheles. Story of a flea)”, "The King of Thule (The King of Thule)”, "Romanza Margarite Soldier choirs (Romanza de Margarita and chorus of soldiers)" Y 8.- "Serenade of Mephistopheles (Serenade of Mephistopheles)”. These eight scenes Berlioz served as the basis for the composition of Damnation Faust, conducted between 1845 Y 1846. The libretto was written by Berlioz himself and Almire Gandonnière. The play, halfway between the oratory and a symphony with vocals and lead vocals, It was called by Berlioz as "dramatic legend in four parts". The premiere concert version, It took place 6 December 1846 at the Opera-Comique (Salle Favart) from Paris, It is a complete failure and keeping only two representations poster. After the death of Berlioz, little by little, the work was having some impact, It is performed intermittently. Staged the first performance took place at the Monte-Carlo Opera, he 18 February 1893. Since then it has remained in repertoire, although with few representations, being interpreted, especially, in concert. It is from the fifties of the last century, when it began to be scheduled more frequently, especially as great singers such as Swedish tenor Nicolai Gedda and soprano Regine Crespin French, They begin to interpret, Having been made a shot live in 1959, during the Festival of Montreux, with the Orchestra and Choir of Radio French Television, directed by Igor Markevitch, Regine Crespin with (Margarita), Nicolaï Gedda (Splendor) and the great French baritone Ernest Blanc (Mephistopheles), full recording is available on Youtube and it is all a joy to listen to these singers. Nicolai Gedda maintained this composition in his repertoire for many years and you can listen to a live recording (also available on youtube), held at the Rome Opera, in 1969, with the Orchestra of the theater, superbly directed by Georges Prêtre. Here, Gedda makes an even better performance than ten years earlier, He is great at both ary, which he shows his great interpretive style and idiomatic domain, so necessary in the French repertoire. Margarita on this recording is played by a dazzling Marilyn Horne, who shines greatly in his two solos, and she and Gedda, They are extraordinary in their great duo. Nicolai Gedda also participated in a studio recording published by the Philips label, in 1973, superb sound takes, with the great Colin Davis (true specialist in Berlioz), leading the London Symphony Orchestra; Y, alongside the magnificent Gedda, you can hear the excellent performances of two French singers: the middle Josephine Veasey (Margarita) and baritone Jules Bastin (Mephistopheles). Ya, in the XXI century, They exist in video footage, both versions staged as in concert form, all available on Youtube. Include a magnificent first staged version, which it was taken on in the video Theater Monneie Brussels, in 2002, musically directed by Antonio Pappano, the head of the Orchestra of the theater, with a very young Jonas Kaufmann, doing a great interpretation of Faust, with excellent American mezzo Susam Graham as Marguerite and Mephistopheles of the great Belgian baritone José van Dam. You can also listen to Jonas Kaufmann in another staged version, which it was performed at the Paris Opera Bastille, in 2015, junto a Sophie Koch (Margarita) and the magnificent Mephistopheles Brian Terfel, with musical direction by Philippe Jordan, the head of the National Orchestra of the Paris Opera. English director Simon Rattle Orchestra, It has also shown great interest in this score, being it led in Berlin, in 2015, in front of the Berlin Philharmonic, in concert, with extraordinaria Margarita de la half norteamericana Joyce di Donato, Mephistopheles magnificent baritone Ludovic Tezier French and tenor Charles Castronovo American as Fausto. In September 2017, Simón Rattle, He returned to directing this work, Also in concert version, in front of the London Symphony, at the Barbican Theater in London, with an excellent cast made by American tenor Bryan Hymel as Fausto, with two English voices: Karen Cargill mezzo who plays a subtle and delicate Margarita, by the expressive baritone Christopher Purves Mephistopheles of.


Functions The Damnation of Faust, represented in Valencia, They have represented the first replacement of the co-production of the Palau de les Arts, Teatro dell 'Opera di Roma y el Teatro Regio in Turin, whose premiere took place in December 2017, en el Teatro dell'Opera di Roma, stage direction Damiano Michieletto, and he received the Franco Abbiati Italian critics award for best show of 2017. In this production, the protagonist is inspired equally in Splendor Goethe and Hamlet the Schakespeare, who experiences suffering as Fausto; see visions, attempts suicide and salvation is represented in a woman. Here you try to update the myth of Faust, giving prominence to a young man full of traumas, contradictory and full of life, who agree to participate in the evil Mephistopheles game.

In this assembly, the four parts nineteen scenes and an epilogue that includes the original work, They have become fifteen scenes each with a title and executed in continuity. Scenography designed by Paolo Fantin, It has a unique space: white room where you can see a large television screen, with two large automatic doors on each side, opening to a white halls with a bright and cold lighting. The entire top of the stage is occupied by a grandstand where the choir remains seated throughout the performance. A camera with Steadycam, He is recording characters and objects, that project in detail on the big screen. There are scenes really got, V like "LA NOSTALGIE (HOMESICKNESS)”, when we hear the chorus in "Canto Easter holiday", and where Faustus evokes a vision of his childhood with his mother, celebrating a birthday party. Margarithe also remembers his childhood in the scene VIII "LE PRESAGE (THE OMEN)”, seeing herself as a child, dancing and moving rhythmically stylish artistic gymnastics tape, while the music of "Les Sylphides Ballet" is heard. also note, parte of escena XI "THE GARDEN OF PLEASURE (THE PLEASURE GARDEN)”, during the great duo and Fausto Margarithe, with a projection reminiscent of the painting "Adam and Eve in Paradise" Cranach the Elder, complemented by a neon sign with the word "Paradisus", placed on stage. All final scene XV "LA PRIERE (THE SENTENCE)”, showing the funeral procession of Margarithe, It is of great beauty and emotion, enhanced by the superb lighting design Alessandro Carletti. But nevertheless, in moments of absolute orchestral role, It is enhanced too much the purely visual, and I mean the scene III "La peur (THE FEAR)”, where the protagonist is haunted, beaten and humiliated in school for several colleagues, before the impassive presence of others who recorded with their phones, of jocular, the terrible scene; Y, at those moments, He is running the famous "Hungarian March". No doubt, viewers tend to focus their attention on the stage action, rather than listening to great music being interpreted. Something similar happens in another major orchestral excerpts of this work "Menuet des Follets (Minuet Elves)”, belonging to the aforementioned scene (GARDEN FUN), with continued and histrionic presence on the television screen Mephistopheles, surrounded by several women makeup and help him dress snake. So, the staging is interesting but uneven, in an attempt to give continuity to a fragmentary dramatic work, that lends itself much more to be interpreted in concert. Highlight the excellent stage direction of Eleanora Gravagnola, Damiano Michieletto substitute these representations.


Good work of Roberto Abbado, maintaining pulse and dramatic tension, in an extraordinary musical quality score, where Orchestra Valencia, He shone high, with excellent brass and percussion, well combined with a sumptuous string and woodwind instruments, they have a major role throughout the entire work. Excellent orchestral performance of the famous "Hungarian March", and the "Ballet of Les Sylphides" at the scene VI "LE Presage (THE OMEN)"And" Minuet elves ", del "FUN GARDEN", definitely, one of the most brilliant orchestral parts of the work, where he highlighted the excellent combination of all instrumental sections, highlighting the sound of violas, with metals having excellent speeches trumpets and trombones along with the woods, especially piccolo, flutes and oboes. As well, in that same scene, include the orchestral sound in the "Serenata" Mephistopheles, to the accompaniment of pizzicato strings and the sound of flutes and oboes. Grand Conjunction orchestra, chorus and solo performers in the final part of the scene VIII "Le Desir (The desire)”, with outstanding interventions of metal and wood, especially clarinets and bassoon. Sounds impressive throughout the orchestral ensemble at the scene XIV "La Damnation (CONDEMNATION)"With a special mention of violas and oboe, marking the frantic race to hell. Beautiful music that accompanies the beautiful final scene "LA PRIERE (THE SENTENCE)”, with outstanding interventions harps and cellos.


The canary tenor Celso Albelo, Fausto plays. He began his performance with a small voice that came to be projected forward. Albelo was improving, although with certain problems when the orchestral volume grew. He sang remarkably, stylish and refined technique, famosa known aria "Thank soft twilight (Thanks sweet twilight)”, belonging to the IX "LA TENDRESSE scene (THE MELANCHOLY)”, with a beautiful fraseo, dominating with power and brilliance acute area. As well, He made a good performance in his other solo intervention "Nature immense, impenetrable and proud (nature immense, impenetrable and beast)"Scene XIII" LA victime (THE VICTIM)”, offering their best moments, in the intense and passionate duet with Margarithe, well it played by the magnificent mezzo Silvia Tro Santafe Valencia, who he wore his beautiful vocalism in the recitative-aria "Que l'air étouffaut ... ..Autrefois un roi Thule (The air is stifling ... .There was once a king in Thule ", X belonging to the scene "La Princesse ET LE DRAGON (THE PRINCESS AND THE DRAGON)”, singing with true style, Grand fraseo, adjusting the sound and moving very well in all registers, with brilliant highs and a great stage performance. Interventions excellent solo viola, during the aria, establishing a true duet with singer. True merit is his performance in this scene, where, while singing, It is beset by Mephistopheles, who even tries to abuse it. His big moment, It occurred in the beautiful aria "D'amour l'ardente flamme (Burning flame of love)”, in the scene XII "L'ATTENTE (WAITING)”, magnificently interpreted vocally and scenically, in this case with brilliant accompaniment of English horn. Also in this aria, the singer has to endure, stoically, scenic demands, performing the final part, pouring glasses of water over his head. Burgalés impressive performance under Ruben Amoretti, as Mephistopheles, with an almost continuous presence throughout the performance, showing a theatrical, to capture all the perversity of character, highlighted by expressive close-ups that appear on the TV screen. His vocal performance was also remarkable in its many interventions throughout the work. Highlight its interpretation of the aria "Voici des roses (Here roses)"Belonging to the scene VII" L 'PRESAGE (THE OMEN)”, or impressive performance throughout the scene XIV "La Damnation (CONDEMNATION)”. Eleazar correct under Jorge Alvarez as Brander in "The Song of the Rat" belonging to the scene VI "LA duperie (DECEPTION)”.


Outstanding performances of the choirs in their numerous interventions throughout the work. Highlighting greatly, across the great scene of "La Damnation" with that amazing chorus "Pandemoniun" sung in a language unintelligible infernal, invented by Berlioz. The Choir of the Generalitat next to the Choir School Boards Have Quart de Poblet and the Choir of La Mare de Deus, They offer a sublime interpretation, throughout the beautiful final scene of the play.