n the start of the season 2012-2013, Valencia Palau de Les Arts, still committed to well-known and popular repertoire titles. After the bright Rigoletto, which he opened the season, It has staged a magnificent production of La Bohème, with an enthusiastic audience that packed the hall and repeatedly applauded both at the end of Act II, as the end of the representation.
First, highlight the attractive and very original scenery of Turin David Libermore, also responsible for stage management and lighting. We propose a stage of the attic of the Bohemians, symmetrical in Acts I and IV, where the painting easel Marcello, and from the very beginning of the opera, takes life to collect footage of the waters of the Red Sea, coinciding with the first sentences of Marcello "This Red Sea ...”, It is projecting one of the side walls of the stay. Then a decorated projecting static-dynamic, where it can be seen flowing smoke emanating from chimneys Parisian buildings, with day and night lighting, to show over time.
these attachments, confer a complementary and urban touch, Parisian interior where the poet Rodolfo and Marcello the painter work, accompanied by their friends. changing paintings, impressionistic character, that they appear in the pictorial frame Marcello, and that, Also in unison, they are planning.
Libermore was inspired by the film Dreams (dreams) de Akira Kurosowa, to insert projections Paolo Gep Cucco, in its portrayal of Paris in the late nineteenth century.
Bustle and joy, It is perfectly reflected in the multitudinous Act II, coffee on the terrace of Momus, the presence at the bottom of most genuine Parisian symbol: The Eiffel tower. This second act, speaking in filmic terms, it becomes a real sequence shot, where the eyes of spectators turned on camera, They can move freely to target different actions proposed. As opposed, appears that austere and cold decorated Act III, very much in keeping with music and theatrical shows action.
The goal coveted by Puccini, composing Bohemian, It was to achieve a musical continuum and
dramatic, in which arias, duettos and other traditional numbers, insertasen perfectly in the orchestral texture, what
a motley structure and always extreme quality music. The big Riccardo Chailly, with the Orchestra of Valencia, He managed to bring us into the rich orchestral palette of this score.
Chailly won the best musical results like no- in this extraordinary Act III, showing the wealth of topics, linked by an exquisite orchestration, which it becomes one of the most perfect moments of the entire repertoire.
Also in that Act IV, where the music moves from comedy to drama purest. In sum, great directorial work, in front of the magnificent Valencian orchestra, the great Milanese master, who already 1998, for Decca, with the Orquesta del Teatro alla Scala, He bequeathed the best record modern version of the opera, with excellent Angela Gheorghiu and Roberto Alagna. Amen, historical and anthological record versions of Herbert von Karajan, in front of the Berlin Philharmonic, also for Decca, with Luciano Pavarotti y Mirella Freni, from 1973, and directed by Sir Thomas Beecham, EMI, He is leading the Orchestra of the RCA, Jussi Björling and with Victoria de los Angeles, from 1956.
In this representation, shone quite high almost stranger-physical transformation- Aquiles Machado, who confessed to me after the show, having lost fifty kilos, That is said very soon! Venezuelan tenor retains its beautiful timbre and a refined line of song, in a role as Rodolfo who has played a lot in theater in the last fifteen years. His voice has gained in breadth and roundness, at the cost of acute insolent old. I had occasion to hear in a Faust in Santander 2000, where voice expanded up brightly. Its "What a frozen little hand"It was very well sung, although the sharp was somewhat strained, near the relevant C4, easy note for him a few years ago. Either way his vocal delivery was very noticeable throughout the opera, especially in Act III, empastando well with the Israeli soprano Gal James, also a courageous Mimi, it was more even more vocal volume- as he advanced representation, to sing nicely Act III, especially that extraordinary quartet, what, actually, are two duos: Rodolfo and Mimi the, and another dramatic plane Marcello and Musetta that of. In Act IV, James Gal's performance, really into the skin of the dying Mimi, goes deep and arrives to thrill.
baritone Massimo Cavalletti, He holds considerable vocal volume, which allows you to pass without any problems orchestra, even when it airs on forte. It's not an overly refined interpreter, but complements his singing with good stage performance. Definitely, best moments in Act III offers, in her duets with Mimi, Rodolfo and Musetta, superbly played by the young Valencian soprano Carmen Romeu just twenty-eight years, student of the famous professor Ana Luisa Chova. Romeu has a striking appearance in Act II, endowing her character true nonchalance and fine eroticism. She sings very well his famous waltz. Well its provision in Act III fighting with Marcello. And in Act IV, his performance truly becoming even dramatic. A female singer, definitely, rather future.
The rest of the large cast, include work under Gianluca Buratto, in the role of Colline, who sings with great dramatic style his famous aria in Act IV "Old zimarra”.
As well, it should be noted the good performance of the young baritone Olivieri Mattia como Schaunard. This singer is in possession of a pretty voice and, nowadays, It is integrated into the Center for Advanced Placido Domingo, Attached to the palace of Ars.
As usual, great performance the Choir of the Generalitat Valenciana, directed by Francesc Perales, reinforced in the multitudinous Act II, Have fear of the Choir School Boards Quart de Poblet, directed by Jordi Blanch, and by the Choir of Our Lady of the Abandoned directed by Luis Garrido. His performances are produced only in Act II, going all out to greet its conclusion, and they are rewarded for long and loud applause from an enthusiastic audience.
Anyway, a magnificent Bohème, opera essential entire repertoire, and always topical since its premiere at the Teatro Regio in Turin on 1 February 1896, with musical direction of Arturo Toscanini jovencísimo.