A very visual Otello triumphs at Les Arts


Mucha was the expectation that had generated the premiere of Otello from Zubin Mehta Y Davide Livermore at Palau de Les Arts. And timely and deserved success that has garnered.
While others look inward, finding nothing, Les Arts ends its season with a magnificent show of force. Neither threats of the crisis, nor the difficulties in obtaining resources have been an obstacle to Valencia has offered an important opera season, culminating with the brilliance of this work of own production.
Otello, la perfecta tragedy concocted by Giuseppe Verdi Y Arrigo Boito, It is a heroic and intense work with which Verdi achieves musical and dramatic continuity through its intense monologues and duets, declaimed more than sung, and an orchestration that emphasizes the drama and subtlety throughout the work.
The opera starts and runs with a great display of visual effects. The stage manager and lighting, Davide Livermore, surprised with its scenic approach formed by a spiral platform, a plunger.
On the same stage all the scenes unfold, each defined by a efectistas projections, from a stormy sea to intimate rooms where the tragedy and death of Desdemona develops. Although it was precisely the images that illustrated the crime the less fortunate to stay out of context.
A stage full of symbolism. jealousy, resentment, treachery… represented by a big black hole that actors roamed toward or away from the core.
And as master of ceremonies, Zubin Mehta as a, despite having the work at a tempo maybe too slow, deployed variety of shades in a direction pulcrísima, explosives brighter moments in the delicate.
The Orchestra of Valencia, deservedly ovacionada, He responded with flexibility and ease to the orders of the baton, getting moments of great beauty, especially by the ropes, and reaching sound effects so decisive in Otello.
American tenor Gregory customer, which he reached Aleksandrs Antonenko replacing Palau, It was another pleasant surprise of the night. Although for the voice of Otello I like a darker timbre and less rossiniano, Kunde was the outstanding Otello. Without pretending to look serious sonorities, better defining the character, but he does not have, the best was the variety of harmonics, especially in the high notes that attacked without fear. Too bad to lose his voice apianar consistency. But he gave his character an exciting drama, especially in the last act and scene, loaded with symbolism, in which Yago repeats like a shadow every move.
Maria Agresta, as Desdemona, Went from less to more. It has a beautiful timbre and a deft ability to control his voice. He built a delicate Desdemona, innocent and great feeling, but you must work dramatization.
Another attraction of the evening was to hear again, this time as the Machiavellian traitor Iago, baritone Carlos Alvarez. His comeback is being carefully paused.
His voice is not before. The volume has decreased and showed difficulties in promotions. But his phrasing, nobility on stage, elegant singing and first and second acts in which his instrument was firm and full of musicality, They leave the door open to an undeniable voice evolution. Visibly moved he received a standing ovation.
Marcelo Puente, as Cassio, and especially as Emilia Cristina Faus, They resolved with dignity their roles.
Well the Choir of Valencia. Powerful and well jaunty around the stage. More discreet was the performance of the children's choir, Choir of Our Lady of the Abandoned, improvable.
Escelente directing actors. Verdi has the difficulty of its great scenic pictures, with crowds on stage that are not always easy to manage. This time Davide Livermore makes an excellent acting direction. The balance on stage is permanent, also when it is filled with choir, soldiers, singers, children ... It is not easy to move so many people in such irregular surface, but Livermore gets it.
Costumes, Livermore's own, rounded characters packaging, especially Otello and Iago. Although I confess that I understood styling women's chorus.
Definitely, one that Otello, with all its dramatic charge, It is full of freshness, Light and talent on stage and behind it is.

Giuseppe Verdi (1813-1901)
1 June 2013
Opera in four acts
Libreto of Arrigo Boito. Based on the eponymous drama of W. Shakespeare
D. musical: Zubin Mehta
D. lighting scene: Davide Livermore
Videocreación: D-WOK
New production of the Palau de Les Arts Reina Sofía.
Gregory customer, Carlos Alvarez, Maria Agresta, Marcelo Puente, Cristina Faus, Mario Cerdá