Using a zoom too far to try to visualize events and characters very specific, it can cause a loss of perspective and contextualization of fundamental elements that make up the essence of an original work.
The globalization, It has its weaknesses, be the cause of the loss of identity. Also in the opera.
The spectacular and original resource of Google Earth, with which surprises us since the beginning Dmitry Chernyakov, queda diluido cuando la flecha del buscador no acierta en su localización. Una ciudad cualquiera, of any country, a bourgeoisie (no royals) anyone, son las nuevas referencias de una ópera a la que Verdi ya había dotado de suficiente personalidad. Sobre todo en la segunda versión de 1865, as the culmination of a personal and musical process leading away from the melodrama, to get into the drama of Shakespeare and Victor Hugo.
Tcherniakov, which has so aptly escenografiado more complex works – as an example close quote his last season Onegin- this time, and using a resource capable of searching every corner of the planet, we looks out a window where you develop a totally blurred Macbeth.
A bleak scenery in outdoor scenes, and extremely poor in the room that we are presented through the window, where the main scenes unfold, limiting the space without justification. Wasting so beautiful scenery. Thereby preventing those scenes in the choir share space, having to intervene hidden, ringing in the distance (unforgivable in a work of Verdi where coral presence is essential). Definitely, an opera televised live.
But the main twist comes with the treatment of characters. Tcherniakov has given all sorts of explanations about what and how you want to convey the work of Verdi. Work on which he acknowledges is having had difficulties in preparing their scenery.
We all know that the need for many explanations is not a good sign. Especially when it is dealing with a work so explicit. As I said, treatment as generalizing discharge relevance to the characters.
A king mocked, although this can serve as a critique of a decadent monarchy. A Macbeth (hereinafter Sr. Cost) low presence, fainthearted and manipulable. Grate with ridicule when he is forced to die in his underwear, thus depriving him, of any semblance of dignity.
Lady Macbeth a very home, their things, their pajamas, giving the impression that at any time appear curly.
And a nonexistent witches, a role which gave greater prominence Verdi, role here is usurped by the whole neighborhood.
Very poorly resolved the murder of Banco, a clear demonstration that the important details of this work are dwarfed, and even ridiculous, in this production.
It seems the story of a family either, without a specific location, or space, no temporal. This scenery can be saved directing actors. Something that is extremely careful Tcherniakov.
Dimitris Tiliakos, as Macbth (Mr. Cost), It makes real efforts to dignify the character. Difficult task as described above. Knows the role, but not enough to raise the interpretation. Mal in duets, sometimes detuned, well in the middle voices. It will not be Tiliakos history this Macbeth. I say it for peace of mind.
Violeta Urmana remains an exceptional singer. Walking with solvency and comfort different character records, endiablado at times. But his sharp are not what they were, narrows the sound that record and is unpleasantly tight. But his grave spacious, bulky and agile.
It has improved this time his stage performance. Something that usually does not emphasize too. He prevented her gentle appearance drawing a wicked and manipulative Lady Macbeth.
Dmitry Ulyanov, it seems paid to Royal, It was a very dignified and forceful Bank, with a significant presence on stage and good dramatization.
Alfredo Nigro, Malcolm, It was definitely the best of the night. This was stated by the audience with applause. A voice polished and excellent phrasing, but he sings their best aria from inside a stroller.
This time the choir was not as lucky as usual. Some attacks were untimely. maladjusted sounded at times and most of the night was a loose diva.
He Patria Oppressed from the beginning of the third act, He sounded weak, undramatic and trailed off slowly. But this is more responsible than the choir director.
Maybe again the address Teodor Currentzis. Increasingly it looks more like Valery Gergiev, with whom he has shared master at directing. Pointing out the lack of intensity with the choir, but not with the orchestra, always alive. You need to go permeating their addresses more personality of authors who directs, but it is one of the best bets Mortier.
very well Nicky. Sober and calm in his appearance on stage. Your presence, with great ease and gracefulness, He drew the attention of the public. Nicky is, Of course, the dog.
Opera in four acts
Libretto by Francesco Maria Piave and Andrea Maffei.
D. musical: Teodor Currentzis
D. scene and costume: Dmitry Chernyakov
D. choir: Andrés Máspero
Distribution: Tiñiakos, Ulyanov, Urmana, Nogales, Dry, Black
Orchestra and Chorus of the Teatro Real holders.