“Everything is finished, and yet, with all the lost illusion I go to bed and get up with the most terrible of feelings, and it is the feeling of having the dead hope. And yet, the next day, I get up and I hope round, bites me, like a dying wolf clench their teeth last”. (Fragment of Doña Rosita the Spinster, Federico García Lorca)
He describes the stage director, Lluis Pasqual, the essence of these two works. Both coincide in a fundamental message, the worst for the human being is not the lack of freedom, but the lack of hope.
the Prisoner, from Luigi Dallapiccla (1904-1975), which it was represented for the first time in Madrid, is a work transparent, with a score very carefully to the musical director Igno Metzmacher draws all its richness, note by note, with exquisite precision. It is a composition harsh penalties dodecafónica, because lyricism escapes in small flashes throughout the entire work.
The prisoner, interpreted by Vito Priante, It is permanently hosts the hope of escaping from confinement. On the stage, a huge round cage rotates as a tourniquet asphyxiating. It's like a spiral staircase endless always leads to nowhere.
In this ladder undertakes the prisoner seeking freedom accompanied by one of the most beautiful and exciting moments orchestral score. Dallapicola uses a form of musical notation called ricercare, which it has its highest expression in these bars. Here the orchestra offers a truly brilliant moment of hand Metzmacher, certainly one of the best directors in the repertoire of the XX and XXI century. Getting an amazing expressiveness and drama.
Both en The prisoner como en Suor Angelica, It is capable of generating an oppressive atmosphere through silences and contrasts, produced Over the pianos to very high records. The result is a cry torn issued by the orchestra and accented by lighting more than successful.
Very good interpretation of Priante. consistent voice and good dramatization. Deborah Polaski, despite its shortcomings, shapes a protective mother torn and thanks, especially, his imposing physique. Keeps well his vocal qualities, but already it is beginning to accommodate a tessitura more localized in the midtones.
The worse off in this deal was Donald Kaasch, his dual role as jailer and inquisitor was perhaps the least grateful for all.
It was certainly the discovery of a masterpiece. Too bad most of the public does not see well and chill and embarrassing shortage of applause result. Il prigioniero seemed that was the price they had to pay for attending Suor Angelica.
To the disappointment of some viewer to checking that the scenery was common to both operas, He began the beautiful work of Puccini.
This time the prison structure could well be the Conventual around. Who it was formerly almost the only contact with the outside world.
In Suor Angelica, Metzmacher again shows his mastery. It is not easy to interpret Puccini. Perhaps by too much knowledge of their works that makes them fall into a certain lack of intensity and leads to superficial interpretations. This time the effort is appreciated, especially in one of the most important elements in the music of Puccini, pianos. The address flees be melodramatic, raises the score and gives it a character debussiniano. Music treats Suor Angelica above the ordinariness of her fellow convent. And music is also higher for the same refinement. Never falls into melodrama, the argument is the protagonist, their experiences, their hopes, and the final outcome, sincere and respectful manner.
here Deborah Polaski plays the evil role of Princess aunt. In this case your stage presence and appearance accentuate the severity of his performance and his voice. It is always a pleasure to hear.
Veronika Dzhioeva as Suor Angeica got thrilling at times. Delicate pianos but some asperity in the registry changes. Unnaturalness and excessive rigidity on the scenario partly offset by a great tenderness in the final scene.
The rest of the cast, formed by Spanish interpreters and members of the choir, especially shone. Highlight Marina Rodriguez-Cusi, hope Mentxaka, Maria Luisa Corbacho, Anna Tobella, Auxiliadora Toledano Y Maria Rodriguez.
Beyond the common scenario, Both works convey a thorough criticism of the use of religion and morality to end any project of rebellion.
Opera in a prologue and an act.
Libretto by the composer based on Torture of Hope (1988) Auguste Villiers de L'Isle-Adam and legend and heroic adventures, happy and glorious of Ulespiegel and Lamme Goedzak (1867) Charles De Coster.
Opera in one act
Libretto by Giovachino Forzano
Teatro Real, 2 November
D. musical: Igno Metzmacher
D. scene: Lluis Pasqual
Scenographer: Paco Azorín
D. choir: Andrés Máspero
D. children's choir: Ana González
Polaski, Priatore, Kaasch, Dzhioeva, Corbacho,
Rodriguez-Cusi, Mentxaka, Toledano, Tobella.