Andrea Chénier Jonas Kaufmann
(Diego Manuel Garcia Perez-Espejo)
He Festival Peralada Castle It held its XXVIII edition, with a program of high-rise, which opened 11 of July, with the recital of tenor Piotr Beczala and soprano Erika Grimaldi, with the Cadaqués Orchestra directed by Marc Piollet. Beczala began hesitantly concert aria how demanding the "Tombe degli'avi miei" of Lucia di Lammemoor, without being able to project good voice. In his second intervention significantly improved, to cope with the vigor and intensity and in the best Verdian style "recitative-aria Forse the attinse soglia……Ma se m’ lose strength ", belonging to A masked ball.
Erika Grimaldi, he faced with great elegance the difficult aria "S'allontano Alfin…opaque jungle "of the Guillermo Tell from Rossini. The concert raised temperature, with good performances of both singers, the entire final scene of Act I of pucciniana Bohemian.
Ya, in the second part, Polish tenor focused on the French repertoire where he wore his beautiful voice in the aria "L'amour! Oh Love! Leve-toi soleil "of Romeo and Juliet from Gounod, and "Porquoi révieller me" of the Werther from Jules Massenet, sung with melancholy accents and showing his stylistic and idiomatic mastery of this repertoire. He also exuded good taste and excellent line singing "Pays merveilleux…A Paradise "by The African from Giacomo Meyerbeer.
Erika Grimaldi played with style and expressiveness the aria "Voi piangete….to guide me sweet "de Anna Bolena from Donizetti, y "He returns not yet… I do not know the gloomy images "de Il Corsaro from Giuseppe Verdi.
Beczala and Grimaldi joined their voices in the beautiful duets "Va, I have forgiven you "to Romeo and Juliet, y "It is late…adieu! I imploire you in vain "del Faust Gounod. Marck Piolet got a discreet performance of the Orchestra of Cadaqués, playing in the first part of the Intermezzo Cavalleria Rusticana, and second Waltz Fausto. Either program the two singers performed the beautiful duet "Lippen Schweigen" of The Merry Widow from Franz Lehar and the famous "Brindis" La Traviata.
He 25 of July, and in the Church of El Carmen Peralada, there was the memorable performance of countertenor Xavier Sabata, Next to the Evening of Baroque Orchestra Arnadi, with direction from the key Dani Espasa. The concert was entitled "Furioso or the footsteps of Orlando". Xavier Sabata showed her beautiful timbre, with a refined technique to master song ornamented, All this combined with a great theatrical performance He's a consummate actor- that deal with fortune allowed each of the five pages of the Orlando from Händel, highlighting its interpretation of "per the man Giah d'Orlando…..Already the drunken my brow ", full of expressiveness and delicacy. As well, "Ah Stigie larva", introducing a beautiful bass and cello, and where the artist showed his excellent singing line, giving prominence to every sentence, every word, and showing unsurpassed theatrical, with looks of pure madness. In "Verdi allori unito semper" executed trills with rare perfection, and an absolute mastery of the melisma on "Fammi combattere", or en la página "If the happy sortisce deception" to perteneciente Ariorante Handel. El Air "Arise the angry cloud" of Orlando Furioso from Antonio Vivaldi, It was one of the great moments of this concert, with a bright introduction and orchestral accompaniment, and where the singer again showed his great acting ability, and absolute mastery of the melismatic singing. The orchestra, well directed from the key by Dani Espasa, He had a lucid performance with the performances of the Concerto grosso Opus 3 No 3 Handel, and Concerto for two horns of Vivaldi.
To loud and long applause from the enthusiastic audience that filled the Church of the Cármen, the artist sang outside the program aria "Cara sposa" from the Rinaldo Handel, She is singing conferring an aura of melancholy sad, which contrasts with moments when the voice takes on a tone of unusual violence. In summary, Xabier an absolute triumph of Sabata in the concert that supposed its debut in Peralada.
The festival had its two large events lyrical day 26 July 3 of August, respectively representing Andrea Chénier from Umberto Giordano, and the German tenor recital Jonas Kaufmann.
Aristocratic verismo Andrea Chénier
Before the start of Andrea Chenier, the organization of the festival conveyed his sorrow over the death Carlo Bergonzi. Disappears one of the greatest tenors of the twentieth century, belonging to that extraordinary generation formed by voices like: Maria Callas, Renata Tebaldi, Victoria de los Angeles, Joan Sutherland, Fedora Barbieri, Franco Corelli, Giuseppe Di Stefano, Alfredo Kraus, Ettore Bastianini, Piero Capuccilli, Dietrich Fischer-Dieskau, Hermann Prey, Cesare Siepi, Nicolai Ghiaurov, and only left alive: Nicolaï Gedda, Leontine Price Y Christa Ludwig.
Andrea Chénier It can be ascribed to the so-called verismo movement. When you talk about <<Verismo>>, immediately associated with titles like Cavalleria Rusticana from Pietro Mascagni Y Pagliacci from Ruggiero Leoncavallo, which they arise with all its rawness, truculent situations and the most hidden passions that affect humans, It is its main characters of popular extraction. There is also a <<verismo>> aristocratic court, where the features outlined above, without losing a bit of drama, They move to stage more refinement and sophistication. Participate in these operas features like Andrea Chénier Y Fedora ambas de Umberto Giordano, next to Tosca from Giacomo Puccini Y Adriana Lecouvreur from Francesco Cilea.
This assembly Andrea Chénier It is a coproduction of the Festival of Peralada ABAO (Bilbaina Association of Friends of the Opera). Very suitable and full of symbolisms, is the set designed by Ricardo Sánchez Cuerda, embodying the ideas stage director Alfonso Romero Mora, and showing a single space, that changes depending on the development of the action: during the course of Act I, It is presented as the ballroom where a party takes place in the palace of the Countess of Coigny, with the roof cracked and sloping floor, heralding the future collapse of a decadent class, to succumb to the pressure of the French Revolution, and budding. Appears that roof and demolished in Act II, as a clear allusion to the chaos produced during the period of terror. In the third and fourth acts the initial decorated has become respectively, in the hall of the Revolutionary Court, and a prison where ironically Magdalena de Coigny- it will be caught by Chénier, in the ballroom of his own house converted into prison.
Andrea Chénier It has been called <<Opera tenor>> since the protagonist, He has to sing four arias in as many events. Opera buffs have in mind, the great creations of the revolutionary poet made in the past century Beniamino Gigli, in the thirties and forties, and by Franco Corelli in the fifties, sixties and seventies. As well, interpretations Mario del Monaco Y Richard Tucker. Y, in more recent times, those of Placido Domingo Y Josep Carreras. So, for poetry and voice timbrada Marcelo Alvarez, It could be a challenge to face a role as Chénier, which it requires a lyric tenor character spinto. In the Argentine tenor lacks that great dramatic thrust, at times, It requires the character. However, He resolved remarkably and boldly his hard part, highlighting their solos: the famous <<Sudden>> the Acto I "One day all blue space", offering a line of singing full of expressiveness, alternating lyrical sections, with other stronger dramatic content. The same is true of the emotional aria from Act III "Sì, I was soldier….Transfer my life like a white sail ". He got his best performance in the arias "Credo a possanza arcana" of Act II, y "Like a beautiful day in May", of Act IV.
Hungarian soprano Csilla Boross, who he debuted in Spain, It is in possession of a good vocal media and a not inconsiderable scenic capacity, doing an excellent interpretation of Magdalena di Coigny, managing to capture the deep psychological evolution of the character. His performance was less to more, and in Act II and offered a good and nuanced interpretation of the aria "Erabate possente", until you reach the famous "La mamma morta" from Act III, excellently sung. Y, Marcelo Alvarez very attuned to, in the beautiful duet of Act II "Udite! They are single!…Now suave, Now sublime love ", and that's it, to the end of the opera, in the intense, vibrant and snatched "Vicino a te s'acqueta", in both cases with great performances of the two singers.
Carlo Gérard It is one of the great baritone roles for the entire repertoire, and brightness greatly Carlos Alvarez, both from the vocal point of view as a theater, and from the very beginning of the opera "Son sessant'anni, o vechio”; Y, moving with great elegance on the stage in his big scene in Act III, culminating with a great interpretation of "Nemico della patria", seguida of dúo "I t'voluta whenever one of you little one", with a pathetic and pleading Magdalena de Coigny.
Andrea Chénier is an opera with many characters, some of them with important interventions as in the case of Bersi mulatta, well played by the Catalan mezzo Mireia Pintó, singing at the beginning of Act II "Temer? Why". The half Galician Nuria Lorenzo López He also had an outstanding performance in his dual role as Comtessa I Coigny; Y, especially, like the old Madelon in his speech of Act III "are the vecchia Madelon". Valeriano boats He offered his powerful vocalism as Roucher friend Chenier. While the rest of the performers. Destacar el precioso concertante of Acto II "The woman you asked me to look", with the participation of the choir of the Liceu, very toned throughout the performance and directed for the last time Jose Luis Basso. The delivery of the Liceu Orchestra, directed by Marco Armiliato, had good moments and others less fortunate, with some sounds that made it difficult to hear forte singers. A real shame, since this beautiful score allows the showcasing of an orchestra.
The beautiful, warm voice of Jonas Kaufmann
Quite an event was the recital Jonas Kaufmann, with his usual collaborator Jochen Rieder, to the front of the Cadaqués Orchestra, which opened the concert with the performance of the overture The Cid from Jules Massenet, page orchestral brilliance with indubitable Wagnerian influences. Kaufmann see centro one Giuseppe Verdi, during the first part, starting his performance with the aria "Io l'ho perduta…I saw her .. ", from Don Carlo, where he showed her vocal and dramatic ability to enter Verdian style of singing. Then the orchestra performed the first part of the ballet that Verdi composed for the French version of The Troubadour, which it served as a prelude to the interpretation of the "recitative-aria Il baleful omen….Ah! And, ben mio…"In this opera, well sung by German tenor, although with some problem tuning in <<Half Voice>> closing the recitative and, as well, some difficulties in the agility required in this aria complicated. Kaufmann was one of the brightest moments of the entire evening, with interpretación of the recitative-aria "Life is hell… Oh you who have breast angels…"La forza of the destiny, preceded by the long orchestral introduction, in which he shone the clarinettist John Moon Enrinc, and where he knew tenor masterfully alternate singing and piano forte, to run the final note of the aria in pianissimi, and gradually open the sound Forte, He is sparking the enthusiasm of the public.
Showing his versatility, Kaufmann closed the first half with a page of the French repertoire: the beautiful aria "Ah! All is well finished…..sovereign O, ô jude, pere…" from The Cid Massenet, elegant phrasing sung, great musicality, with round sharp and well placed.
Apart from the aforementioned fragments, the orchestra performed during the first part of the overture The force of Destiny, and genuine curiosity: Micaela's aria from Act I of Carmen, where the concertino violin replaced the soprano.
The second part was devoted to the Wagnerian repertoire pages, starting with the overture The Flying Dutchman, well played by the orchestra, seguida del monólogo de Sigmund "A sword promised me the Father", from La Walkiria, sung by Jonas Kaufmann with real power and emotion, alternating sections of great dramatic content -Awesome when repeatedly utters the word "Wälse- with others of intense lyricism, always well accompanied by the orchestra. Impeccable turned its interpretation of the two Wesendonck Lieder: "Pain" y "dreams", the first sung in a voice expansive lyricism, and second, displaying a ridge line of extreme delicacy, with some beautiful pianissimi. Exciting and full of drama was her rendition of "Amfortas! The wound", from Parsifal, where the tenor sang with subtlety and variety of accents. The orchestra during this second part, and with commendable results, It sandwiched Prelude Act III Meistersinger and Prelude Act III Parsifal.
Given the intense and repeated applause, Jonas Kaufmann felt generous adding to the program four tips. La primera "Donna non vidi mai" de Manon Lescaut, exquisitely sung. He followed the famous lament of Federico "storia e la solita of PAStore" of La Arlesiana from Francesco Cilea, with a full interpretation of melancholy accents, sandwiching sbellísimos pianisimi, and displaying a magnificent record high. The tenor concluded his performance with two pages of operettas Franz Léhar: "I am happy to nab the Frau'n gekusst" perteneciente a Paganini y "Yours is my heart Gance's" de The Land of Smiles, where he squandered musicality and good taste. Anyway, a magnificent concert.
(Diego Manuel Garcia Perez-Espejo)