Francesco Cavalli (1602-1676)
dramma per musica in a prologue and three years
Libreto de Giovanni Faustini, based on the book II
Metamorphoses (8 d.C.) Ovidio
San Apollinare premiered at the Venice Theater
28 November 1651
Premiere at the Royal Theater
Bayerische Staatsoper production Munich
Madrid 25 of March, 2019
D. musical: Ivor Bolton
D. scene: David Alden
Scenographer: Paul Steinberg
Costume designer: Buki Shiff
Illuminator: Pat Collins
choreographer: Beate Vollack
Distribution: Dominique Visse, Karina Gauvin, Monica Pods,
Luca Tittoto, Nikolay Borchev, Louise Alder, Tim Mead,
Guy de Mey, Ed Lyon, Andrea MastroniLa seventeenth-century Venice is a suitable place for divertimento, full of life, carnivalesque mocking. Always wary of Roma who came to excommunicate the Venetian authorities to consider the city a hovel of sodomizing. It is in this context that born La Calisto, work that was the great dominator of the Venetian opera, Francesco Cavalli. With great dramatic sense and wisdom in choosing the librettos, I knew how to put in this work all his artillery to exert satirical critique gaunt clerics, Roman politicians and artists. This was his peculiar way of settling accounts with ellos.Cavalli worked as Kapellmeister of San Marcos without forgetting his true passion, composition operas. He wrote more than 40 of which they have lost nearly a third. Of the 27 preserved, Callisto is the most popular since it was rescued in the years 70 by director Raymond Leppard.Cavalli should be as well known as Monteverdi or Haendel, whose works are part of the standard repertoire of all concerned teatros.Esta Italian society is reflected in the artistic and musical expressions through a clear evolution. Are the first solo, Madrigals abandoned 5 parts, texts gain in importance and should be understood by an audience that, for the first time, attending such shows paying entry. new instruments that imbue the works of a continuous basis are needed more powerful than traditional lute. a new instrument then appears with Greek mythological basis, chitarrone, It is beginning to be heard in the early and Venetian operas.
La Calisto, as a good representative of the Venetian opera, It consists of short scenes and a variety of characters and plots that occur with great fluency.
This style manages to convey, effectively and dynamics, a story with scene transitions and assemblies that makes these works have a special appeal to new audiences, accustomed to rapid movements of television and media.
Stage directors have always had some qualms about addressing Baroque works. Not easy to dramatize the long recitatives and statism of his characters. It may be the reason why some directors are entangled in impossible positions and / or surreal, creating scenery not always successful.
David Alden has devised a kind of psychedelic parade going by parading a large group of characters who are always very attractive for scenographer, gods, humans and mythological animals occur in fun filled scenes of sexuality and lasciviousness. Alden has reflected well through satiric characters, Cavalli mockery to the Roman authorities.
But the scenery is also loaded with scenic dispensable items, that they make no contribution to drama and sometimes distracts from the scenes that do not need much embellishment sterile to be understood.
Ivor Bolton put this time in front of two excellent baroque ensembles, on the one hand, the Baroque Orchestra of Seville, with some of its prominent members, Sylvan James and Elisabeth Bataller, violins; Kepa Arteche y Elena Borderías, violas; Mercedes Ruiz, cello; Ventura Rico, double bass; Simone Nill y Katja Schönwitz, Recorders; Bork-Frithjof Smith y David Gebhard, cornetos and Philip Tarr was in charge of percussion that was excessive and even annoying at times.
And on the other hand, and Monteverdi Continuo Ensemble, a group led by self Ivor Bolton, specializing in baroque operas and improvisation and created for these occasions. La Calisto involved with 4 key touched by the Bolton own, Luke Green, Roderick Shaw y Bernard Robertson; Mark Lawson, organ; Fred Jacobs, Michael Freimuth y Joachim Held, the chitarrones, instruments in the seventeenth century there was scarcely see the stage to an audience protesting the length of your rod; Friederike Heumann, Lirona and viola da gamba; Joy Smith, Cello (continuous) y Frank Coppieters, double bass (continuous).
They have also introduced some wind instruments, as natural trumpets, performed by members of the Titular del Teatro Real Orchestra Ricardo Garcia and Marcos García Vaquero, not included in the original manuscript of Cavalli and part of the update of this new critical edition prepared by Alvaro Torrente, which it has provided a solid and true basis of the text from which it was possible to carry out this work of recomposition in a work with great ability to introduce the element of improvisation.
Bolton direction in front of these sets is extraordinary. Faced with a score like this, on which he has worked in depth, instrumenting passages, shows his great knowledge and mastery of the baroque repertoire. Does a great job of connection between the different bands that get perfect pitch. His success in the leadership demonstrated by the standing ovation before the start of the second part.
It should be noted the balance of vocal ensemble. Bass Luca Tittoto, como Jupiter, She showed her acting skills, especially disguised as Diana and using the falsetto. It proved a very interesting central register. Made good partner with Mercury Nikola Borchev.
Calisto was played by British Louise Alder. A beautiful timbre well and potently projected was enough to give life to his character, something sappy and simplón.
The Endimione Tim Mead was full of tenderness in the interpretive part, He gave the public time full of lyricism and taste in singing. He made very good theater and vocal partner with Diana Monica Bacelli, which he demonstrated his mastery of the baroque.
No doubt the winner of the night was Dominique Visse. This disciple of Alfred Deller is an expert on his rope and countertenor repertoire. His voice is not the same as when founded in 78 el Ensemble Clément Janequi, but his acting ability makes up any vocal difficulty and delights the public.
The rest of the cast was high, why not have it any easier from their platforms, as in the case of Ed Lyon, interpreting Pane.
An interesting production that allows us to be optimistic to think that there is a deficit of Baroque works in our theaters. Hopefully sets an example and good public acceptance is taken into account.
Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real