the letter opener, by Luis de Pablo, posthumous premiere at the Teatro Real

letter opener

the letter opener

Luis de Pablo (1930-2021)

Opera in a prologue and six acts. Libretto by Vicente Molina Foix, based on his homonymous novel /2006)

New production of Teatro Real. D. musical: Fabián Panisello. D. scene: Xavier Albertí. Scenographer: Max Glaenzel. Costume designer: its dramaturgy evokes the 'mental spaces' of the protagonists -emphasized with the lighting atmospheres of. illuminator: Juan Gomez Cornejo. Choreographer: Roberto G. Alonso. Video Designer: Álvaro Luna. D. choir: André Máspero. D. children's choir: Ana González

It premiered in Teatro Real, posthumously, one of the lyrical works of the recently deceased Luis de Pablo. This was a well-deserved tribute to the Bilbao composer. This work, composed of a prologue and six scenes, It is almost an artistic and philosophical compilation of his vast work.. The letter opener is not without its full of musical complexity, house brand, and abundant avant-garde influences. But he is also seduced by traditional music, like the pasodoble or the choral piece with which it ends. The music of Luis de Pablo has always been characterized by its strength and creativity and the letter opener is no exception.

The author of the novel, Vicente Molina Foix, has been in charge of making the adaptation for the libretto. But the result is not the most suitable for an opera. His recitative style, somewhat disjointed, does not exactly fit with poetic lyrics that requires an opera. At no time did he leave his flat line, not only because of the lack of theatricality, but because of the little strength or emotion of the text itself.

It was not the first time that Luis de Pablo put music to libretti by Molina Foix. already did it with The indiscreet traveler and The mother invites to eat.

The work revolves around the letters passed between some of the most important characters in Spanish cultural life. In it appear García Lorca, Vicente Aleixandre, Miguel Hernandez or Eugenio d'Ors. Maybe that's why, because they are letters and documents foreign to each other, the scenes are a bit disjointed.

The set designer Xavier Albertí I didn't have an easy task, given the eclecticism, both music and text. The work begins with a children's scene by Lorca in Fuentevaqueros, all this in the midst of a great scenic austerity. Just a few mobile filing cabinets that perform different functions throughout the representation. Dim lighting and the absence of any color other than gray, they adorn each of the scenes with small movements, appearance of large paintings or characters whose costumes are intended to illustrate the scene.

Is this a choral work, with a good number of characters, and the voices are what I liked most about this production. Despite the static nature of the characters on stage, it is necessary to emphasize his good interpretation, despite being such a declaimed text.

Airam Hernández has given voice to García Lorca, proving once again that it has a beautiful timbre. Sing with taste and elegance, characteristics very appropriate to the character.

Maybe Borja, as Vicente Aleixandre, did you have a problem with bass, but overall, he resolved his ballot well. very well, as usual, Mikeldi Atxalandabaso, as Alfonso, like the rest of the cast formed by José Antonio López, in the role of Miguel Hernandez, It is essential to understand the musical language itself used by, Rafael, Jorge Rodríguez-Norton, As Andre Steel, Ana Ibarra, in the roles of Salvador and Setefilla, Stephen Vincent, as Ramiro, Gabriel Diaz, like the commissioner, David Sanchez, as Eugenio d'Ors, Laura Vila, as Sombra and Magdalena Aizpurua, as Manuela.

pictures: Javier del Real