Bernarda Alba's house 1

Bernarda Alba's house 2

Bernarda Alba's house 3

Bernarda Alba's house 4

Bernarda Alba's house 5

Miquel Ortega being accompanist at the Teatro de la Zarzuela, back in 1991, He began composing an opera based on the work of his admired Federico García Lorca. It was nothing less than "The House of Bernarda Alba". In a few months the first act was finished. From now on, and because of the numerous commitments that he was acquiring the composer, his work went on for 8 More years. It was a chamber opera in its original composition 14 musicians, mode the Britten chamber operas. But in 2007 He came the opportunity to release it with the condition than in version for symphony orchestra in the theater of the Romanian city of Brasov. Then come the Festivals of Santander and Peralada.Llega now the Teatro de la Zarzuela in a new production version for chamber orchestra, as it was conceived at the outset by Miquel Ortega. And for the first time in a Spanish language version. Julio Ramos's libretto is absolutely respectful of the play. Almost exclusively so do not leave time, some scenes and character were eliminated Prudencia.

Ortega creates a score to match the play. Something not easy with such a complex and full text of more wrenching drama of Lorca. Ortega music, does nothing but enhance the drama, creating a distressing and oppressive atmosphere. Giving life to the other main character is the house and the great Ezio Frigerio, Riccardo Massironi, They have managed to capture in a scenario that the applause was nothing the curtain rises, in recognition of the loyalty of that suffocating space where the tragedy will take place. Frigerio describes it: "It has some convent, some prison, something not seen and have to feel. "

The scenery is enhanced by the costumes of Franca Squarciapino you saw all those women tormented describing perfectly by her outfit. Not missing anything left over in an accurate reading that brings credibility to the representation. The same goes for lighting Vinicio Cheli and the great stage director Barbara Lluch. Among the four they compose the perfect scenery naturally, without fanfare or adornment, as only make great.

Nancy Fabiola Herrera is the Bernarda Alba this production, It is delivered to rigorously character, both vocal and interpretative. It is a relentless and ruthless Bernarda. Impress their sentences at the end of the work She died a virgin!, referring to her daughter Adela, to listen to startle.

In this version, Daniel Bianco free to offer the teacher the opportunity to make a change in one of the main characters of the play took. Poncia, the maid of the house which maintains a curious relationship with Bernarda. According to Lorca's own annotations in the work, Poncia is a friend of Bernarda and only able to talk face to face. For this reason Bianco thought that this character needed a powerful record, a baritone.

The chosen was Luis Cansino, who accepted his character honored, "Artists have to have a point in life where we are able to get out of our comfort zone". Cansino is a dramatic baritone with an unknown capacity in our country, where it is required for papers bufos, and building a flawless and full of theatricality PONCIA, taking care of the details in the interpretation. Gorgeous duet with Adele in the second act.

Highlight the performance of the only high-pitched voice, the Carmen Romeu, who plays the youngest of the sisters, Adela, in a resounding performance.

Impressive to see the grande dame of the Spanish scene Julieta Serrano, who plays Maria Josefa, mother of Bernarda Alba and unique declaimed paper. The play begins with its heartbreaking: ¡Bernard!, which you are able to place on your site each stage, including public.

A high rise was the rest of the cast made by Carol Garcia, as Martirio, Marife Nogales as Amelia, Bethlehem Elvia, Magdalena, Berna Beads, Anguish and Miracles like Martin as a maid.

A magnificent production of Teatro de la Zarzuela is putting the bar very high. No one should miss anything of what is happening here. And that miss, worse for him…

Text: Paloma Sanz
pictures: Javier del Real


Last Saturday 10 October season opened 2012-2013, Valencian Palau de Les Arts, with a remarkable representation of the verdiano Rigoletto. Upon arrival the directorial podium, Omer Meir Wellber carefully read the document vindictive workers in the Palau de Les Arts, distributed to attendees at the entrance of the enclosure. Israeli director for this gesture received a strong applause from the audience.

Last Saturday 10 October season opened 2012-2013, Valencian Palau de Les Arts, with a remarkable representation of Verdi Rigoletto. Upon arrival the directorial podium, Omer Meir Wellber perused the document vindictive workers Palau de Les Arts, distributed to attendees at the entrance of the enclosure. Israeli director for this gesture received a strong applause from the audience.
After first dark chords, advancing the tragedy raised in this popular score, The curtain rose to show us the splendid scenery of the Ducal Palace in Mantua, performed by Ezio Frigerio, in the mid-eighties of the last century, and it was used in very bright scalígeras representations, since Riccardo Muti, in 1987, take charge of the artistic and musical director of the Teatro Milanés.
Functions with great players like Renato Bruson, Leo Nucci, Andrea Rost Ramon Vargas, who participated in this production by Frigerio, with costumes designed by his wife, Oscar winner Franca Squarciapino. Y, with bright musical direction, in the purest style verdiano, of the great Neapolitan director. This production was taken over by the Wilelki Theater (Polish National Opera).

Returning to this Valencian function: after a mere twenty minutes from representation, and at the end of the first frame of Act I, There was a long break, to show for the rest of that act decorated a dark and gloomy, in contrast to the initial, very much in line with the meeting between Rigoletto and Sparafucile sinister hitman, in the vicinity of the house where the jester, jealous and very secretly keeps his beloved daughter Gilda.
Ya, in Act II, again appear bright decorated Classic-cut as it should be- which reproduces a stay of the Ducal Palace, with large windows to the bottom, that give even greater splendor.
In Act III, we are resubmitted a gloomy and sinister decorated, representing the house of Sparafucile, where it is consumed tragedy, built by Verdi and his librettist own usual in those years Francesco Maria Piave, based on the romantic melodrama Le roi s'amuse Victor Hugo.
Initially, when this production was circulated, stage direction was carried out by the prestigious Gilbert Defló. In this Valencian representation, The director was Beata Redo-Dobber, who gets a good theatrical performance of interpreters, and for his stage work, It was rewarded with applause from the audience, when he appeared to greet the end of the performance.
Tell, at this stage, the Orquesta de Valencia, It is one of the best trench across Europe, It is nothing new. Here, well directed by Omer Wellber, heavily involved in the score, supported by visible movements and gestures; Y, extracting the maximum orchestral performance. The different sections show a balance nuanced sound, to capture the cheerful and humorous moments, as opposed to the much more somber, dramatic and even gloomy, of this score Verde, where the great master of Busetto, try again, and his Macbeth, an interaction between music and dramatic development.
Within an outstanding performance of the orchestra throughout the development of the work, it is worth noting his performance during the first meeting between Rigoletto and Sparafucile; Y, especially, during the entire Act III.
Highlight, como Rigoletto ,the great vocal and stage work of the baritone onubense, Juan Jesus Rodriguez, who spends a frivolous and biting action at the beginning of the opera, a bleak initial encounter with Sparafucile.
Also, in his emotional duets with Gilda or that awesome "vendetta", where he sings with authentic Verdian style, exhibiting
magnificent high register. Outstanding, his performance throughout the Act III, full of drama and good vocalism. Definitely, Juan Jesus Rodriguez was the big winner of the night, It is compensated for and the end of the performance, with great applause.
Italian tenor Ivan Magri, as Duke of Mantua, He had, together a remarkable performance. It was good in the duet with Gilda that closes Act I, where in the "hold"Which tops the duo, He raised his voice to a C4.

One of the key moments for the tenor, in this opera, It is the start of Act II, with recitative-aria "She was kidnapped me ...... I seem to see the tears ...”, They are requiring great vocal technique and singing stylish, to link long sentences and regulate sound: Suffice it to recall the magisterial lessons to this page, Alfredo Kraus made a Carlo Bergonzi and the, even singers like Pavarotti, Jussi Bjorling, Josep Carreras and Richard Tucker. This function Valencia, ese recitativo-air, He choked Ivan Magri, llegándosele, at times, a jarring voice.
In compensation, If he sang quite well the subsequent cabaletta "Mighty love calls me.."rematándola, bravely, with the relevant re bemol, tenors few have dared to give, since the cabaletta -usually omitted- It was put back into circulation in the early fifties of the last century, and that can be seen in a recording of the Metropolitan neoyorkino, from 1951, recently released by the label MYTO, con Leonard Warren, Hilde Gueden y Richard Tucker, who, as in the case of other singers omit the re bemol, and in an octave jump the note drops to the bass.

After this note, and returning to the vocal performance Ivan Magri, point out that his performance was quite good in Act III, with a "Donna e movile.."Together with the quartet"Beautiful daughter of love..”, well sung.
The American soprano Erin Morley like Gilda, Went from less to more, discreet in duets with Rigoletto and El Duque in Act I, the Aryan pyrotechnics sang with good colorature "Dear Name..”, though skipping the my high end.
Already in the course of Act II, the voice was wider and more forceful in his duets with Rigoletto. Y, in Act III, especially in the quartet, his acting was pretty good, both vocally and dramatically.

The great Georgian bass Paata Burchuladze do an outstanding job as Sparafucile. Well the Maddalena of Adriana de Paola, as well as the Monterone de Amartuvshin Enkhbat, and the rest of tablets.
Very good performance by the Valencian Generalitat Choir directed by Francesc Perales. Also highlight the performance of the Generalitat Ballet, performing the choreography of Zofia Rudnicka. Anyway, a Rigoletto of quite a few carats.

Giuseppe Verdi
Opera in three acts
Libreto de Francesco Maria Piave, Le roi s'amuse based on Victor Hugo
10 November, Palau de les Arts
D. musical: Omer Meir Wellber
D. scene: Gilbert Deflo
Scenography: Ezio Frigerio
Locker room: Franca Squarciapino
D. choir: Francesc Perales
Distribution: Rodríguez, Morley, Magrí,
Burchuladze, Di Paola, Enkhbat, Pinchuk