Giuseppe Verdi (1813-1901)
Opera in three acts
Libreto de Francesco Maria Piave, based on the novel and the play La Dame aux camélias by Alexandre Dumas Jr.
Premiered at the Teatro La Fenice in Venice on 6 March 1853 and the the Teatro Real the 1 February 1855. Opera in semi-staged concert version
D. musical: Nicola Luisotti
Scenic concept: Leo Castaldi
Lighting: Carlos Torrijos
D. Choir: Andrés Máspero
Distribution: Marina Rebeka, Michael Fabiano, Artur Ruciński, Sandra Fernández, Marifé Nogales, Albert Casals, Isaac Galan, Tomeu Bibiloni, Stefano Palatchi, Emmanuel Faraldo, Elier Muñoz and Carlos García
It had been four months since everything was suspended. At first it seemed like it would be for a short time, but as the weeks and events passed, uncertainty came to occupy everything.
In this period there has been time to think about many things. Also that only a miracle would bring me back to this chair. But miracles exist, and we make them. In this case, Royal Theatre. And a miracle has worked that covers various aspects. First, have the courage and determination to return to operatic activity in the safest way, and the second, and no less important, have the ability to demonstrate that, difficult as the circumstances are, good management can be done, even, very good.The bet is risky, keep this fragile balance when the entire operatic world is watching, is not easy. For a full month, in which the representations have been multiplied to compensate for the limited capacity, this stage adaptation by Leo Castaldi is presented, like who says, with four little things that he has found by the theater, to create a scenery that could not be more effective. In it the essential elements appear, nothing is missing or nothing. A parceled stage delimits the two square meters that each singer has to move. A small space, but in which all the emotions of the protagonists fit. The chorus, occupying the back half of the stage box, remain disciplined in seclusion, each one of them, on his ground, which does not detract one iota from its sound and professionalism. All this illuminated with great success by Carlos Torrijos It was not easy to immerse yourself in history in an environment so different from the one we are used to. Too many elements distract us in the room, on the stage, distance, the mask ... But then, he appeared, Like a hero without a cape to rescue us from silence, Nicola Luisotti. One of the men who must be working the most in the last weeks and who was exultantly happy with this challenge, perhaps for having lived through the dramatic circumstances that have touched us with the intensity that only a passionate person like him has. He was the first to suspend the premiere of Il Trovatore at the Scala in Milan and is now the first to raise the curtain on what he calls "ritorno alla vita". It was then that one of the most elaborately romantic and evocative that have been written, the opening of the first act of La Traviata. The orchestra, which occupies the entire space of the pit, also appears with their masks, except for the wind, which is separated by a screen, like Luisotti himself. The Italian teacher was the perfect link between what was happening on the remote stage and the wide moat, generating confidence and balance in this strange new way of interpreting. After a deep overture, sober and heartfelt, for whom is a great connoisseur of this repertoire, he knew how to transmit to the stage the theatricality he lacked. His direction was above some more muted sounds caused by physical and technical distances. The orchestra sounded muffled and with the delicacy that some sometimes abandon when it comes to Verdi.The distance at which the singers were kept was not disturbing. Always attentive to the teacher who accompanied them, more than directed. Despite not approaching or touching, Violetta and Alfredo were able to demonstrate their passion.The Latvian Marina Rebeka is the first of five sopranos who address the character of Violetta Valéry. Has an extensive and voluminous lyrical soprano voice, a beautiful timbre and great sound that was appreciated very well in the most dramatic parts and in well-delineated pianos. Maybe too contained, which affected the most theatrical part of the character, something very important in this role that Rebeka is very knowledgeable and loving. If I let the character take over her, coupled with his exceptional technique, would be the best of the Violets.The Alfredo by Michael Fabiano went from less to more. He had moments of great inspiration, although it was noticed a little insecure at the beginning, something that may be normal under the circumstances, and that it disappeared from the second and third act, In which he shone with an inspired and intense Alfredo, the most applauded of the night was Artur Rucinski and his Giorgio Germont.. A good diction and elegant and very careful phrasing for your stretched Germont. Very well at Di Provence.
The rest of the tablets were at high altitude. Great participation Marifé Nogales in her role as Annina. Also perfect Sandra Fernández, with a frivolous Flora Bervoix, both are involved in all functions. Like Albert Casals, as Gastone, Isaac Galan, like Baron Douphol, Tomeu Bibiloni, as Marquis de Obigny, Stefano Palatchi, like Doctor Grenvil and Emmanuel Faraldo, as Giuseppe and Violetta's servant.
A success without a doubt of the Royal Theater showing great courage and ability. All this served with a security that can be felt. If a major outbreak occurs, I'm going to the Royal Theater. And is that normality does not come alone, you have to conquer it.
Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real