The Così fan tutte al High school, which they say is not a Mozartian theater. Since we know very well what is to be or not mozartiano, in the case of a theater, we are left with the doubt. Who does not seem very Mozartian is the stage director of this production, Damiano Michieletto. This young Venetian begins to be known for performing discrete extravagances. Some more successful than others. And it's not this Così fan tutte, that comes from La Fenice, one of his most celebrated productions.
The scenography designed by Michieletto trivializes the plot of Da Ponte. Based on nothing less than works by Bocaccio, Shakespeare Y Cervantes. This is not an opera buffa, but of a dramma giocoso. Or as well defined René Leibowitz, a "tragedy in the form of a game". But the stage manager has created too basic a game this time. He has not been able to see the intelligent proposal of the composer, so given to the game and fun. He has set the plot in a decaying hotel in 5 stars of which you have traced, this time with great success, that dim and daunting light that always invites you to leave the room.
Nor is it right when placing small parallel plots on stage that all they do is distract from the main plot and the action of the singers..
From the pit, the start of the work is promising. It is Mozart! the overture, always vigorous, fills everything. But after the first bars, the lack of spirit begins to show. That spirit that the composer, master of the game of infidelity, so aptly reflected. There is no orchestral line, a musical narration of history.
Pons doesn't pay enough attention to the singers or the chorus. The result is the helplessness of the interpreters and the disconnection between the pit and the stage. Especially in group arias, so important in this work. Untimely tickets and little coordination between singers. The masterful game of entanglements and exchanges proposed by Mozart in his score is absent. In the second act, you go from lack of spirit to boredom. The bad resolution of the end, that is halfway between joy and love disaster, does not fast to leave a good taste in the mouth among the public.
A Juliane Banse he had to play one of the most complete and complex roles written by Mozart, Fiordiligi. A soprano is required driven by agility, with a robust voice to approach arias such as For pity. Juliane Banse has a good central record, but suffered in the lower notes. It also had its difficulties in the complicated Like Scoglio. Aria with great technical demands for which she did not have enough encouragement or support. It was less to more, reaching the second act with a less strident and tighter sound.
Dorabella, Fiordiligi's vocal counterpoint, was interpreted by Maite Beaumont. A much more balanced and homogeneous voice. Nice timbre and good singing line. She was covered several times by her artistic sister, but it gave the character the right character, more shy and demure.
Despina was played by Sabina Puértolas. A soprano with higher tones than the previous ones. He animated the scene with his impudence, exaggerated sometimes, but it gave freshness to the whole work. Broad and expressive voice. She walked the stage while her companions remained static.
The pleasant surprise of the night was the young tenor Joel Prieto, playing Ferrando. His full lyric tessitura, they try hard, is the most suitable for this Mozartian role. He sang with remarkable taste, especially its main aria, Loving aura, who approached with finesse. Cavatina solved very well Betrayed, mocked, theatrically more demanding and for which good bass is required. Very good in the duet with Fiordiligi in the second act. Given his youth and the quality of his instrument, a brilliant evolution is guessed.
Joan Martin-Royo composed a solid Guglielmo. Its baritonal tessitura is reinforced with good bass, that correspond to the character that Mozart described. His acting work was meritorious and shone in the arias. Like the rest of the interpreters, the costumes and the scenery did not favor them too much.
A Pietro Spagnoli They commissioned him a Don Alfonso somewhat rough and with little spark, when what the character requires is an almost buffa. Vocally it was very well resolved by Spagnoli. A magnificent phrasing and a very good declamation in the recitatives. Your tables are noticeable.
The Liceu choir sounded great, Hand Conxita García, despite the shortage of items.
A Così fan tutte something poor and uneven the one that the Liceu has presented on this occasion. Can be improved in any case, but always extraordinary when it comes to Mozart. Let's not think that the Liceu is not Mozartian. Let's give it another chance.