This Cyrano reaching the Royal Theatre seems to be granting or "detail" that Gerard Mortier has with the public in Madrid. Placido should think a year, It does not hurt, but only one unadorned. No "Approaches", only five functions, no initial advertising on the web, etc, etc.. but Domingo, as an institution that is, above other considerations, He has hung the sign no bills with this heroic comedy Alfano, Italian composition with obvious French evocations.
Placido Domingo is a teacher, among other things, to discover scores know and dust that perfectly conform to their characteristics, vowels first, and performing after. He Cyrano de Bergerac from Franco Alfano (known for concluding the Puccini's Turandot) is a character with a focused vocalism and undemanding at the ends. Suitable for a tenor lyric spinto and wide. This allows to Sunday have some quality time, where it is possible to recognize his voice that color so beautiful and characteristic, although he never owned metal in acute. the need to take breaks more often is also seen to fiato shortages and difficulty in some props that were insufficient in serious tour. lack of testing is also seen, which it was evident in asynchrony with the other participants, and difficulty remembering the text.
At canoros elements, themselves, we must add the evident difficulty moving scene. Sunday continues displaying excellent physical shape given its age, But since his Simon Boccanegra two seasons ago, there has been a certain physical decline that makes the ease of his movements is not the same.
With Placido Domingo, and the least the first two representations, substituting disease Sondra Radvanovsky, He made his official operatic performance at the Royal, soprano Ainhoa Arteta. Aware of the character of Roxane, He solved the night with great dignity and so was rewarded by the public, which it gave him a warm ovation Welcome. His voice has widened a little and making the transition to acute narrows and is a little tight, but it is robust and bulky and half voice They were filled with beauty. He continues to have problems of expression and theatricality, It seems tense and unnatural, hopefully relax for Doña Elvira in Don Giovanni, that bring again the next season Real.
Of the other singers not much to say, Disappointing Michael Fabiano, as a Christian and very reliable angel Ódena De Guiche as.
The choir was brilliant, as he usually does. Perhaps one step below but not demerit his, but because the work itself is in the second tier.
After checking throughout the season, all of which is capable Madrid Symphony Orchestra when directed by brilliant and demanding Batons, Today has been a poor performance in nuances and expressiveness. In favor of Pedro Halffter, say that the score is not exactly lucida.
scenography, too spectacular and too. Sometimes there were many people on stage that made, Besides, too much noise and was feeling some chaos. A little unbearable was the beginning of the work with actors on stage while tunings sounded unpleasant Orchestra. Poor lighting and children had to leave blind more than a spectator in the stalls by reflections.
In summary, a boring opera whose sole purpose is to receive at home, one more season, a Placido Domingo who always has the affection of his only satisfied audience with his presence. But there is something that continues doing as anyone, die on stage. This specialty which provided a poignant ending, as only he is capable of doing.
Cyrano de Bergerac
Franco Alfano (1875-1954)
Opera in four acts and five paintings
Libretto by Henri Cain, based on the eponymous heroic drama of Edmond Rostand
New production of the Royal Theater from the Theater du Chatelet in Paris
D. musical: Pedro Halffter
D. scene and lighting: Petrik Ionesco
D. choir: Andrés Máspero
Choir and Orchestra of the Teatro Real holders
Arteta, Lamprecht, Toledo, Sunday, Ódena, Pomponi, Fabiano, Alvaro, Helmer