Don Pasquale

He needed the public of the Teatro Real salve to ease the wounds caused by the recent Don Giovanni. Expected at least one compensation. And this has come from the hand (teacher) from Riccardo Muti. You could say that, in the pit, a great evils, desperate measures.
the overture, explanatory statement that expresses the character of the work and, especially, the capacity (or not) musical direction, He ended with the first standing ovation of the night. Just it had to be abandoned. The way, He was traced.

The scenery is simple and minimal, maybe a bit poor and dark at times. It was a canvas that were drawing the scenes perfectly drawn by Maestro Muti.
An opera to which the Muti itself does not allow qualifying lower, and it is not, but his baton which elevates it to the category of large. And is that the lines you draw her, marking the character of each of the scenes, buffo contributing to their sense an air of nostalgia and melancholy that rounds out the work, la hace más compleja y la música adquiere una capacidad de penetración mayor de la que partía. The ease with which Muti articulates the different parts of the work, give this a harmonic coherence which creates an atmosphere envelope.
A beautiful period costumes gave the perfect touch of romance to finish completing all the essentials.
It shows that this is a work that Maestro Muti has highly polished. Full details, inspired moments and caring showcasing singers. He knew melancholy provide some masterly accompaniments, as the trumpet in the tenor aria. Y de picardía en el aria de Norina. Una orquesta, the Luigi Cherubini Youth que es ante todo eso, young, with all that entails, Muti directed masterfully but obtaining extraordinary results.

El joven cuadro de cantantes anduvo resuelto por el escenario con una teatralización que superó sus voces. Dmitry Korchak, as Ernesto, fluent phrasing and singing with gusto. Posee una hermosa y lustrosa voz que lució en momentos como la serenata, when the tessitura allowed him some comfort in the middle. His sharp point good manners, but he did not resolve any. Lacking armor, They were in an attempt and others were victims of fear. When the acute expected, He appeared a little note and shy. Transit must remedy the acute and wait for time and tables will entrench and courage is another of his qualities.
Alessandro Luongo, as Doctor Malatesta, He was correct. Well in their interpretation, the best thing you can say about him is that it was not a negative element, that today, quite.
Nicola Alaimo, como Don Pasquale, He received the biggest applause of the night. More for his portrayal of the character, resulting dear, which by its melodious qualities. But his stage presence and character that knew Don Pasquale print rounded character, very well run by the impeccable baton of Maestro.
The most promising voice of the evening was the soprano Eleonora Buratto. He performed a sparkling Norina thanked the audience. Possessing a broad and forceful voice, presented a small problem when hold. Their highs are bright and agile instrument guess with extensive backgrounds and ability to be nuanced and sculpted.
It was not a delusion, but certainly it was a happy night enjoyed by an audience who came out smiling and.

 

Don Pasquale
Gaetano Donizetti (1797-1848)
Teatro Real, 13 of May 2013
Dramma buffo in three cts
record: Giovanni Ruffini y Donizetti
New production of the Teatro Real from Ravenna Festival
D. musical: Riccardo Muti
D. scene: Andrea Rosa
Scenographer: Italo Grassi
Costume designer: Gabriella Pescucci
illuminator: Pasquale Mari
D. choir: Andrés Máspero
Don Pasquale: Nicola Alaimo
Ernesto: Dmitry Korchak
Norina: Eleonora Buratto
Doctor Malatesta: Alessandro Luongo
a notary: Davide Luciano
Titular Choir of the Teatro Real
Youth Orchestra Luigi
Cherubini