Eleonora Buratto

One year after my debut as Desdemona in Verdi's Otello at the Liceu in Barcelona, Eleonora Buratto has the great honor of facing Desdemona by Rossini for the first time. Otello will be performed at the Rossini Opera Festival of the 11 al 20 of August, with stage direction by Rosetta Cucchi and musical direction by Yves Abel.

“From Shakespeare to Rossini and Verdi, what a change the main characters experience! Exploring this Rossini opera, I have gained a deeper understanding of their mixed fortunes. Before the Rossini Renaissance, it was almost always overshadowed by Verdi's opera of the same name. My understanding and love for this opera have been enhanced thanks to this staging of Rosetta Cucchi, perfect in the way it responds to the needs of the drama, highlighting how difficult it is for these characters to communicate since “seek emotions that go beyond the story”. , taking it to a different metaphysical area where each of us can see ourselves” (as Alberto Zedda wrote). Rehearse for this Otello, following the narrative path of Rosetta Cucchi, is becoming a dizzying emotional experience. Themes are powerful, with the femicide there on stage showing the relevance that this topic always has, just like betrayal (including the father's), love, the passion, despair and jealousy. I can add nothing regarding the musical strength of Otello (and Desdemona, the real protagonist)”.

the sublime artists who have sung in this role, starting with Isabella Colbran, testify to her vocal appeal and the challenge she poses. Represents for Belcanto singers, but also its dramatic complexity. After the last of the four programmed functions, he 21 August I sing along with other colleagues at the Tra rondò e tournedos Gala with which the Rossini Opera Festival will celebrate the magnificent forty years of Pier Luigi Pizzi at the festival. Both Otello and the Gala will feature the National Symphony Orchestra della Rai and the Ventidio Basso Theater Choir, one more reason to celebrate. Finally, I am pleased to confirm that the opening performance of Otello will be broadcast on Radio Rai 3. You can find all the information about the creative teams and the casts here.

Photography © Dario Acosta | © ROF / Studio Amati Bacciardi

Eleonora Buratto

The Italian soprano Eleonora Buratto, considered one of the best interpreters of the Puccinian character, returns to the Madrid Coliseum to perform six performances of Bohemian in a season in which he will also sing it in New York.

Eleonora Buratto's career does not stop conquering stages and gaining followers all over the world. Not for less: His schedule points out commitments in the most important theaters of the international lyrical scene thanks to a voice of impressive beauty and a temperament that leaves critics and audiences breathless wherever he performs..

The singer arrives in Madrid with her acclaimed Mimì de Bohemian after having triumphed with the popular character of Puccini at the Metropolitan Opera in New York, reaping impressive public and critical success, scenario in which she will play the Parisian seamstress again this year. In the Royal Theater he has already sung, since his debut in 2012 with The two Figaro, titles like Don Pasquale, L'elisir d'amore, The Marriage of Figaro, Carmen e Idomeneo. Now come back with Bohemian, who will interpret the days 13, 16, 19, 27 Y 30 December and 3 from January, in a montage staged by Richard Jones and with Nicola Luisotti on the podium in front of the Madrid Symphony Orchestra. It is a co-production of the Teatro Real, the Royal Opera of London and the Lyric Opera of Chicago. “I am excited to face new artistic adventures, but, this time, to the joy I add the emotion of singing for a theater with him 100% of its capacity ", affirms the singer born in Mantua. "I am in Madrid in full rehearsals of Bohemian embodying Mimì, one of my distinctive roles. It is also the last character I sang at the beginning of 2020, before confinement, at the Royal Opera in London. And none of us could imagine at that moment that the entire world and the world of opera were on the verge of paralyzing because of the pandemic.. I hope that the circle is finally closed and that, although with all the necessary precautions, we are resuming life as before”.

Already in the summer of 2020 Eleonora Buratto was able to restart artistic activity with the Requiem Donizetti and Verdi. “I also debuted two exciting Verdi roles as Elvira and Desdemona, in addition to the Mozartian Fiordiligi in Così fan tutte, first at La Scala and then in Turin –with Riccardo Muti–, and Anaïs in Moses and Pharaoh at the Rossini Opera Festival, but rehearsing now with a true spirit of normality like the one we are experiencing at the Teatro Real is a wonderful gift. I have been linked to this theater since 2012; here I have made important debuts like Elettra's in Idomeneo, among others. Now it's Mimì's turn. I hope to convey to the Spanish public the emotions of a role and a work that for more than a century has spoken to audiences around the world of love, joy, the illness, the pain and, especially, the infinite melancholy that brings the end of youth. I think today, more than ever, Bohemian is capable of giving us the truest and most shared emotions”, concludes the soprano.

After his commitment to Madrid, he will travel to Rome to participate in three Rossini concerts with the Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia conducted by Antonio Pappano, to Paris to sing the Requiem by Verdi directed by Daniele Gatti at the Théâtre des Champs-Élysées and will return to New York, this time to debut Madama Butterfly and again embody Mimì from Bohemian, both engagements at the Metropolitan Opera House during March, April and May 2022


It may be the sweetest or most furious Mimí Elettra, in a magical duality security product in an impeccable technique and a consolidated instrument. Claimed by directors like Riccardo Muti, Eleonora Buratto has become one of the strongest performers of his rope.
Muses always visit when working, ensuring the greatest stimuli listen. After his successful Elettra in Mozart's Idomeneo Teatro Real, we can again enjoy Liceu in Barcelona with Luisa Miller. Do not miss it.
During the last few seasons we have been fortunate to hear different roles in Spain, at the Royal Theater and El Liceu. What is more attractive to the interpretation, Elettra wickedness or naivete of Mimí?
The truth is that I think Elettra is not so bad and that is not so naive Mimí. I explain better: A love and excited to be able to live with the man she loves and to return to his homeland woman has no right to feel and externalize their rage? Elettra is a woman with a very strong character, but like the other characters in the play is the destination slave, the true deus ex machina of the whole plot. Elettra not concocts no cheating on his rival to win the love!. As for Mimí, He is a weak woman health, but I would say it has very clear ideas about what he wants: it is she who waits for friends to go and Rodolfo left alone, before knocking on the door; it is she who blows out the candle to have an excuse to talk to Rodolfo and, in the end, it is she who takes the reins of the situation at the time of crisis Rodolfo, in the third act. Good, the truth is that both are two characters I love and, I am not able to choose! mimi, I love her for that sweetness of phrases and singing Elettra, by force not to accept head down your destination, by his rebellious character and that is the role that has tested me on stage…because it coincided with the death of my mother. Elettra has saved me in the most painful moment of my life, and will always have a special place in my own corazón.El Currentzis, a great lover and student of Mozart, He chose to sing Elettra last May at the Diaghilev Festival in Perm, Had they worked together ever? Were you surprised that the call? How he was working with the famous and controversial director Teodor Currentzis?I had never worked with Master Currentzis, although he had auditioned in Madrid for a Traviata 2013, and really nice is that when we met again perfectly remember me. I was thrilled to know that I had chosen for Elettra ... long overdue opportunity to work with him and, It has been an experience that has exceeded all my expectations! I was in schock at the first rehearsal with the orchestra (without any musical rehearsal before), listening to my first aria di tempo ... then, that same afternoon, Currentzis teacher invited all cast the opening concert of the festival and there I was in love with her address and the wonderful orchestra formed. The next day, I just got carried away ... I trusted fully in their tempi and make music together, and it has been one of the most beautiful experiences of my professional life. Thank you, Maestro!What attracts you most of the Verdi heroines, his vocalism, his character ... and what role verdiano would like to play in the future?
When more roles on board and study verdianos, I realize that it is my own voice which demand, so I certainly like his vocalism. But to say that is only so, It would be too simple ... Probably, I like the mere fact that Verdi is the composer. His enormous capacity to make credible the characters derived from his sincere writing, a script that comes from the heart. I feel myself when I play that character and temperament with the Verdi heroines. always respecting my vocal career and expanding the repertoire, I hope to have chance to debut Otello and Don Carlo, and later, in the future, maybe, They could also get Trovatore and Aida.
Now comes the Teatro del Liceu with Luisa Miller, a role here is closely linked to Montserrat Caballé. When a character so closely linked addressed a singer reference, Do you feel other liability?Of course, the responsibility is great, but I do not think anyone expect to hear another Caballé, and much less think I can be. The biggest responsibility I have with myself, and the best way to interpret a wonderful character…You are fond of other great music, specifically the rock. Do the feelings you have now to take the stage of a theater are very different from those he had when he sang with his rock band?
Yes, sang in a cover band ... He sang rock songs Anouk, Alanis Morrissette, Skunk Anansie, Tina Turner and Toto! The initial excitement is the same, but after interaction with the public it is very different. When you are singing rock, the audience is an active part of the concert ... you can sing and the same singer can involve the public in the choruses and choirs; Besides, between one piece and another, You can interact, presenting the piece, telling a little story or asking questions. Instead, during the execution of an opera, The audience listens attentively in silence, that is to say, no such interaction with the public but is something different, ... deeper interaction with the public is through the emotions, baring our soul to play a character. And the excitement of the public is a reflection of those emotions that have been achieved transmitir.Los stage managers are increasingly leading role in a production. Have you ever seen in a compromising position by demanding stage manager?Say I'm not always totally agree with stage directors, but also, I have to say, I've been fortunate to be able to find a compromise with them on the interpretation. When there uncomfortable stage movements, I ask a solution most often found together. Perhaps he did not accept things that might disturb my song, but sometimes I have other distant accepted interpretations of my visión.¿Cómo she met her teacher, Paola Elisabetta, and what it means for his career?I heard about Paola at a time of crisis with the song in 2009 ... I wanted to leave ... thought he was not capable and lyrical singing was an unattainable dream. In January 2010, I made my first lesson with Paola, and immediately I realized that I had found, at last, the correct master. The first years were mainly technical impostación, but then I started preparing her roles. It is a relationship that has evolved and grown over time; I do not want to say, now no longer consider technical, must never stop studying, but, obviously, with the years, I have consolidated the technique and I could also devote myself to the study of the technique in the repertoire. Paola has been and is an important reference figure ... every singer should have a picture of this guy and I feel very afortunada.Tras his debut as Elettra in the Royal Theater before returning to sing at the Teatro Massimo of Palermo, was a great success as Amelia (Simon Boccanegra) with Placido Domingo and Francesco Meli at the Wiener Staatsoper, Is it in a golden moment of his career? What other roles have on the agenda and what roles you would like to debut in the near future?Yes, the truth is that I am living a beautiful moment of my career, fruit of much study, patience and good choices. And I hope it lasts a long time, because I put everything in my power to make it last. The next major debuts will Così fan tutte in Tokyo, and Rusalka in Amsterdam, in March and June 2020, respectively. But the season is coming, There will also be some very nice projects: Turandot at the Met in October, el de Verdi Requiem with the Orchestra dell'Accademia Nazionale di Santa Cecilia, directed by Mikko Franck, Bohème in Berlin in December / January, and then in London in February. Also I engrave some arias by Beethoven in Klagenfurt and finally, in summer 2020, I will debut at the Rossini Opera Festival singing a recital and Stabat Mater. Y, Besides, There are other exciting debuts, With el, la Scala…Now that mentions his debut in the Rof, just received rave reviews with his latest recording dedicated precisely to Rossini: Petite Messe Solennelle. You who has also sung the Stabat Mater, What would you say are the characteristics of rossiniano language for soprano in these two sacred works? Do you like the Rossini sacrum?Rossini singing the sacrum is, In my opinion, a real challenge. effectively, I've sung both Stabat mater Messe Solennelle as Petite, and although they have not been many times, itself have been enough to fall in love with that intensity of the writing of Rossini , their ability to use language that requires us to singers a true virtuosity, and involves completely immersed in the text, in meaning, nobly and dialogue with other soloists and instruments. I sing Rossini completely seduced by the music I listen, perfectly supporting parts dedicated to the soprano. I think, for example, in the "Crucifixus" from the Petite Messe Solennelle, in the musical climate as serious and rich in pathos that gives meaning to the text and that seduces me and moved me. Rossini sacrum, Besides, It fits well with my vocalism and my idea of ​​beauty is a woman committed musical.Usted, not only with his profession, also it faults that we know exist, but toward which we do not usually look. Tell us about some of these issues and convince us not to be mere espectadores.Sí, the "butterfly children", say that sounds so sweet, but whose disease, bullosa epidermólosis, it's terrible. These children have such fragile skin that require painful daily treatments. They are more exposed than anyone to infections, and for them, even the caresses of the mother can be painful and dangerous. It all started when I met "my first butterfly", sweet and very strong, an example for all of us. Today, research offers some opportunity more, but we are far from having found the ultimate recipe to combat bullous epidermólosis yet. I try to make this horrible disease, getting involved with Debra Association South Tyrol - Alto Adige. I would like to sensitize everyone to collect more and more funds allocated to research, putting my voice available for the necessary collection of funds.

What do Eleonora Buratto usually hours before going on stage? Do you follow any ritual? What is never missing in your suitcase?

Before taking the stage, the only ritual I follow is to pray and repeat the most difficult passages. In my luggage, something that never lacks is a good book and the score of the following production.

Idomeneo

The next 19 February Royal Theater debut a new production from Idomeneo, King of Crete, coproduction with the Canadian Opera Company in Toronto and Teatro dell'Opera di Roma, which will be presented later. The opera, which will be staged until 1 March ─9 features double reparto─, It will be recorded for DVD release, broadcast live across Europe (Classical Radio and UER) and delayed by the TV channel Half.

The stage director Robert Carsen ─ which also signed the scenery, with Luis F. Carvalho, and lighting, shared with Peter van Praet─, moves the Homeric struggles between Greeks and Trojans, Original background of the opera, to a Mediterranean island today, where about 170 ─miembros choir performers and actores─ represent the army, deported, refugees and victims of war. characters, according Carsen, “They have lost their bearings: desnortados by war and pain, They do not know where to go…”

The sea, so brilliantly evoked in the instrumentation of Mozart, It is omnipresent in production, reinforcing the sense of rootlessness, soledad, insecurity or fear of characters. On shore the great themes of the opera develop, articulated from an illustrated version frenchified ridge XXIV Iliada in which Idomeneo, back to Crete after beating the Trojans, to save his life threatened by the raging sea, Neptune promises to sacrifice the first person he meets on shore, It will prove to be his own son Idamante.

complex, painful and tense relationship between father and son, that beats throughout the opera, It is often compared to the then living Mozart himself, that their 25 years had left Salzburg and his father's house, composing much of the score in Munich, away from the yoke and protection of his father.

In the late score that freedom and freshness, an infinity melodic invention and an orchestration filled findings and harmonic daring, despite corseted lie between two models ─ the Italian opera and francesa─ who lived in the troubled Europe at that time.

Mozart masterfully connects the recitatives, with arias, set numbers and choral parts on a hinge score between two styles Ivor Bolton known depth and veteranía. The musical director of the Royal Theater, mozartiano governing its fourth title in front of the Titular Orchestra of the Teatro Real --after The Marriage of Figaro, The magic Flute Y Lucio Silla─ also he played Alceste, from Christoph Gluck, in 2014, with which Idomeneo finds many affinities, especially in the wonderful choral numbers, marches and orchestral interludes.

Embody the double star quartet tenors Eric Cutler Y Jeremy Ovenden (Idomeneo), Y David Portillo Y Anicio Zorzi Giustiniani (Idamante); y las sopranos Anett Fritsch Y Sabina Puértolas (their), Y Eleonora Buratto Y Pleiades Sabirova (Elettra), which they will be accompanied by Benjamin Hulett Y Krystian Adam (Arbace), Oliver Johnston (The high priest of Neptune) Y Alexander Tsymbalyuk (Neptune's voice).

Holder Choir prepared Teatro Real, as usual, by director Andrés Máspero, It has in Idomeneo a role of great dramatic and musical importance, performing some of the most beautiful pages mozartianas.

Idomeneo, King of Crete He offered at the Royal Theater in July 2008, in a co-production with Teatro Real La Scala in Milan and Paris National Opera, with musical direction Jesus Lopez Cobos and stage director Luc Bondy. Munich version then interpreted, from 1781, the role of Idamante, originally written for castrato, played by mezzo Bernarda Fink and Joyce DiDonato. This time one based version which will be offered rewrote Mozart, with substantial modifications, for Vienna, in 1786, the role of Idamante intended for a tenor, but regardless of arias and ballet Arbace, for the benefit of the dramaturgical coherence of the opera.

Idomeneo Real returns to the conception of Robert Carsen, like a "Powerful anti-war statement, with a final full of hope: the possibility that a new generation brings love and peace and can transform a world wounded by the power, war and destruction ".

Photograph: Javier del Real

Eleonora Buratto

The soprano Eleonora Buratto, a favorite maestro Riccardo Muti singers, who for a decade usually works in the most famous international stages, Elettra will in the next release of the Royal Theater: Idomeneo, King of Crete Mozart, con musical direction of Ivor Bolton and stage firm Robert Carsen. After its extraordinary success in its debut at the Royal Opera House Micaela (Carmen), and before his performance in Simon Boccanegra Verdi alongside Placido Domingo in the Wiener Staatsoper, Eleonora Buratto returns to the scene of the Madrid coliseum to play, for the first time, the princess of Argos, in love with Idamante; mozartiano role to play again in April at the Teatro Massimo of Palermo. Three years after his acclaimed Mimì (La boheme) the Gran Teatre del Liceu, next July, Mantua soprano returns to Barcelona coliseum, to debut the role of Luisa Miller in Verdi.

Considered by audiences and critics as a singer of extraordinary talent, the young Italian soprano has an extensive resume of performances in the most famous festivals and opera houses internationally renowned as the Salzburg Festival, Festival Aix-en-Provence, Ravenna Festival, the Arena di Verona, the Teatro alla Scala in Milan, the Metropolitan Opera in New York, la Lyric Opera de Chicago, la Vienna State Opera, the Royal Opera House in London, la Opera de Zurich, the Teatro San Carlo in Naples, el Teatro Opera in Rome, the Teatro Real in Madrid, Gran Teatre del Liceu in Barcelona, the Semperoper Dresden or Dutsch National Opera in Amsterdam, among others. Also active in the field concertístico, He has sung Stabat Mater Rossini with the Orchestra and Chorus of the Royal Theater in the Cathedral of Toledo, en Roma junto a la National Academy of Santa Cecilia, and the Teatro Comunale in Modena, in a tribute to his teacher Luciano Pavarotti; the Petite Messe Solennelle Rossini at the Wiener Konzerthaus and the Philharmonie Luxembourg; the symphony No. 4 Mahler, the Four last Songs and the Requiem Verdi at the Teatro San Carlo in Naples; the symphony No. 2 Mahler in the Opera Florence, and the Mass in B minor de Bach en Chicago, accompanied by the Chicago Symphony Orchestra.

Eleonora Buratto has collaborated with leading conductors such as Zubin Mehta, Riccardo Muti, Daniele Gatti, Gianandrea Noseda, Ivor Bolton, Daniel Harding, Fabio Luisi, Ottavio Dantone, Michele Mariotti or Juraj Valcuha, among others.

His upcoming engagements include his return to the Metropolitan Opera in New York and debut at the Staatsoper Berlin, in addition to performances in London, Tokyo and Amsterdam.

http://www.eleonoraburatto.com/

Carmen

Twenty years he has this Carmen from calixto Bieito finally arriving to the Royal Theater. Production more represented in the history of this opera, It comes with some controversy over "adjustments" that the art team has been forced to perform on supposedly offensive scenes. The changes are merely cosmetic, so as not to focus on certain elements that only pretended to be artistic expressions.

Based on the work of Prosper Mérimée, Bizet adapted the text, which was very attractive to the public at the time by the Spanish exoticism and somewhat lustful elements, and created some players that, this time, They were not kings, emperors or gods, If no characters from the street, exposed with maximum crudeness and far from existing operatic archetype so far. Bizet puts the work in a specific social category and in a particular medium. This is perhaps the main reason that made its debut result in scandal.

It should be clarified that gender opera comique, to which he belonged Carmen, It does not mean that it is a comic opera, refers to a genre that opposed the serious opera or great opera was represented in Paris. It is about, not so much of the humor of the arguments, if not technical issues, as alternating between fragments spoken and sung. This so straightforward to express the text mode has a great theatrical and musical impact. Music is much more direct and Carmen sings, are not arias, but songs, Bizet himself as he wrote. There is only one character, created by composer, since it does not appear in the original work, It is having arias themselves, Micaëla.

Bizet died just weeks after its release, without enjoying the success of his opera after the initial scandal. It was one of his disciples who, in an effort to make a serious opera Carmen, instead of an opera comique, He introduced a series of amendments adding recitatives and music. He managed thereby that the dominant image of Carmen throughout the twentieth century has been very different from the original idea conceived Bizet. It was important, because, reposition the story of Carmen and return the characters to their original idea.

It is here where it appears one of the virtues of Calixto Bieito, his way of directing actors. And it is this direction of actors, and not the scenery or stage elements, what makes the difference in this production over others we've seen before.

This Carmen is one of the first productions of Calixto Bieito. And he pointed it his taste for controversy and some extravagances often become protagonists of their productions. What we are not thought that, to modify any of these most controversial elements, Naked as the work quedase so the scenery of Alfonso Linings. Characterized by the absence of elements, He has presented an empty stage, Just a phone booth and some grant years 70, until 6, They have occupied the stage during the first two acts. He has not missed a naked, taste very Bieito, through a helper that makes the moon "as is" at the beginning of the third act. Decorated the bleak drama gets weaken and numbs the orchestra, that especially in the prelude and the first two acts he had a direction of Marc Piollet routine and little gimmicky. Despite being one of the most vital repertoire scores, got it sounded vulgar in some passages.

Bieito wanted to get away from the folclorismos that have characterized so many times this opera, but it does lunging others you españoladas. It merely update clichés, without leaving them. raising, contradictorily, a return to Spain deep.

In this dive to Spain tambourine, draws characters that, although they are closer to the original idea of ​​Bizet, They do not stop taking their roles forcefully. The Carmen de anna Goryachova It is full of sensuality, but his temperament is not as strong as intended. Vocally not much to blame. Her mezzo voice is homogeneous and balanced, although its volume was resulting in decreased as the work progressed. Its beautiful timbre looked more in the central records in serious but had a good performance, in general terms.

Francesco Meli not able to give the image of a rustic and fierce Don Jose. It turned meek, especially in the scenes of gang, much like West Side Story. In the vocal part he was more successful. It has a beautiful timbre and a good volume of voice were enough to tackle this role.

Eleonora Buratto builds a Micaëla which is not as naive as it may seem at first, suggests a self stroke. It is always a complicated character for being a little out of place, to be added in the work. The Buratto boasts a somewhat excessive volume of voice but lution in the arias and especially in his beautiful duet with Don José's first act.

The Escamillo of Kyle Ketelsen It is very attractive and manly. His resounding voice to the character fortalció. He defended his role with dignity.

The two pairs formed by comprimarios Olivia Doray, as Frasquita and Lidia Vinyes Curtis, as Mercedes and Maybe Borja, as Le Dancaire and Mikeldi Atxalandabaso, in the role of Le Remendado, were high, vocally and in interpretative. They are well within the decadent world unwrapped low funds created for the occasion by Bieito. The Lillas Pastia of Alain Azérot, a dastardly character, I was approached by the French correctly and professionalism.

The chorus, in its line of excellence. He shone particularly spectacular in the fourth act, by the Choir of Young Singers of JORCAM.

A Carmen, Regrettably, It will be best remembered for the scandal that was not, that staging.

CARMEN
Georges Bizet (1838-1875)
Opéra comique in four acts
Libretto Meilhac and Ludovic Halévy deHenri based on the novel (1845) Prosper Merimee
Premiered at the Opéra-Comique in Paris 3 March 1875
Production of the Opéra National de Paris
D. musical: Marc Piollet
D. scene: calixto Bieito
Scenographer: Alfons Flores
Costume designer: Merce Paloma
Lighting: Alberto Rodriguez Vega
Replacement: Yves Lenoir
D. choir: Andrés Máspero
D children's choir: Ana González
Distribution: anna Goryachova, Francesco Meli, Kyle Ketelsen, Eleonora Buratto, Olivia Doray, Lidia Vinyes Curtis, Maybe Borja, Mikeldi Atxalandabaso, Alain Azérot, Jean Teitgen, Isaac Galan
Headlines Choir and Orchestra of the Teatro Real
Little Singers of ORCAM

Celso Albelo en L'elisir d'Amore

The story of L'elisir d'amore from Gaetano Donizetti Real, It dates back to the early history of the Madrid Theatre. He went on stage for the first time 1851, one year after its opening by Queen Elizabeth II. Since then the opera is more often depicted, with the functions of this production will be more than 80, and always with great success of public.
This work of Donizetti, which it has the influence of Rossini and Bellini contemporaries, bufo and romantic melodramma, It presents all components of the genre postbelcantismo. But it is not only bufa, It has a dramatic and emotional charge that is clearly reflected in the melancholy Nemorino. his argument, traditional and simple. A great economy of means, both orchestration and action and gimmicky and harmonious music, though seemingly simple, it is beautiful. To this freshness and optimism that distills the work together. sufficient grounds to offer, with guaranteed success, audiences of the time he did not need more to be satisfied.
I think that these reasons are not sufficient at present. Although you should never neglect the necessity and importance of leisure, even for a moment, but it is more than appreciated attend a production with some added value, precisely to give continuity to the mastery of its composition. The importance of the voices, musical direction and scenography, They are as fundamental.

Musical director wanted to recover the original score and orchestration fresh light. With the intention of obtaining a result of finesse and elegance in music performance. But Vicente Alberola, directed only two functions, not complicated and address, is not that prove low risk, It is that it had no substance. The result was flat and uninspiring.

Quite the opposite happened with the scenery of the young Damiano Michieletto. It was his debut at the Royal and had some curiosity about their successes, a growing recognition and some other resounding failure.
His bet for L'elisir d'amore has been to an actual beach that was not lacking in detail. Or props or peculiarity and variety of characters. In principle all very original.

Eleonora Buratto, as Adina, It has evolved from its Don Pasquale last season. Her generous voice volume is accompanied by good projection and diction. It started with some nasality that corrected immediately. Beautiful voice and good looks of a character with little theatrical requirement.
To young man Antonio Poli he came a little big the role of Nemorino. His voice suggests very good manners but has work ahead. It has a good melodic line but lacks fiato and tension in pianos. Lacks comic vein, capacity and importance theatrical scene, especially when dealing with a major role.
Erwin Schrott, bass-baritone (more baritone than under) Uruguayan who played Dulcamara, He had an appearance in spectacular scene. The time redbull, including hostesses, marketin and all-terrain, He was the delight of a, until that moment, mortecino Público. His Dulcamara was not exactly breath. This is a tacky beach that trapichea with certain substances. One the protagonist substance. His voice is powerful, sometimes too and, although it did not chart the appropriate character in the theatrical, If you picked up the work since it appeared on the scene. The audience celebrated and thanked the applause.
Fabio Maria Capitanucci as Belcore was not up to the character. His voice lacks brightness and nuances nor resolved scene. Missing spark, although he was more successful in part buffa that Schrott.
Ruth Rosique, as Giannetta, He left us all wanting more. It is time to offer this young soprano sanluqueña a more important character. We have high-quality voices that fill very well main characters without resorting to third-party international deals. But the third deals, such as, They are also God.

L'elisir d'amore
Gaetano Donizetti (1797-1848)
Teatro Real, 8-12-2013
Melodrama playful en dos actos (1832)
Libreto of Felice Romani, based on the text
Eugene Scribe para la ópera The potion of
Daniel Auber
New production in co-production of Teatro Real
with Oalau de les Arts in Valencia
D. musical: Marc Piollet
D. scene: Damiano Michieletto
illuminator: Alessandro Carletti
D. choir: Andrés Máspero
Distribution: Antonio Poli, Eleonora Buratto, Fabio
Maria Capitanucci, Erwin Schrott and Ruth Rosique.

Don Pasquale

He needed the public of the Teatro Real salve to ease the wounds caused by the recent Don Giovanni. Expected at least one compensation. And this has come from the hand (teacher) from Riccardo Muti. You could say that, in the pit, a great evils, desperate measures.
the overture, explanatory statement that expresses the character of the work and, especially, the capacity (or not) musical direction, He ended with the first standing ovation of the night. Just it had to be abandoned. The way, He was traced.

The scenery is simple and minimal, maybe a bit poor and dark at times. It was a canvas that were drawing the scenes perfectly drawn by Maestro Muti.
An opera to which the Muti itself does not allow qualifying lower, and it is not, but his baton which elevates it to the category of large. And is that the lines you draw her, marking the character of each of the scenes, buffo contributing to their sense an air of nostalgia and melancholy that rounds out the work, makes it more complex and the music acquires a greater penetration capacity than it started. The ease with which Muti articulates the different parts of the work, give this a harmonic coherence which creates an atmosphere envelope.
A beautiful period costumes gave the perfect touch of romance to finish completing all the essentials.
It shows that this is a work that Maestro Muti has highly polished. Full details, inspired moments and caring showcasing singers. He knew melancholy provide some masterly accompaniments, as the trumpet in the tenor aria. And mischief in Norina's aria. An orchestra, the Luigi Cherubini Youth what is first of all that, young, with all that entails, Muti directed masterfully but obtaining extraordinary results.

The young group of singers walked resolved on stage with a theatricalization that exceeded their voices. Dmitry Korchak, as Ernesto, fluent phrasing and singing with gusto. She has a beautiful and lustrous voice that she wore in moments like the serenade, when the tessitura allowed him some comfort in the middle. His sharp point good manners, but he did not resolve any. Lacking armor, They were in an attempt and others were victims of fear. When the acute expected, He appeared a little note and shy. Transit must remedy the acute and wait for time and tables will entrench and courage is another of his qualities.
Alessandro Luongo, as Doctor Malatesta, He was correct. Well in their interpretation, the best thing you can say about him is that it was not a negative element, that today, quite.
Nicola Alaimo, como Don Pasquale, He received the biggest applause of the night. More for his portrayal of the character, resulting dear, which by its melodious qualities. But his stage presence and character that knew Don Pasquale print rounded character, very well run by the impeccable baton of Maestro.
The most promising voice of the evening was the soprano Eleonora Buratto. He performed a sparkling Norina thanked the audience. Possessing a broad and forceful voice, presented a small problem when hold. Their highs are bright and agile instrument guess with extensive backgrounds and ability to be nuanced and sculpted.
It was not a delusion, but certainly it was a happy night enjoyed by an audience who came out smiling and.

 

Don Pasquale
Gaetano Donizetti (1797-1848)
Teatro Real, 13 of May 2013
Dramma buffo in three cts
record: Giovanni Ruffini y Donizetti
New production of the Teatro Real from Ravenna Festival
D. musical: Riccardo Muti
D. scene: Andrea Rosa
Scenographer: Italo Grassi
Costume designer: Gabriella Pescucci
illuminator: Pasquale Mari
D. choir: Andrés Máspero
Don Pasquale: Nicola Alaimo
Ernesto: Dmitry Korchak
Norina: Eleonora Buratto
Doctor Malatesta: Alessandro Luongo
a notary: Davide Luciano
Titular Choir of the Teatro Real
Youth Orchestra Luigi
Cherubini

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