Riccardo Frizza

After directing at the Teatro La Fenice in Venice Semiramide of Rossini opera commemorating the 150th anniversary of the composer's death and have opened the Donizetti Festival in Bergamo who debuted as musical director, with a concert and opera exhuming Bergamasco Il Castello di Kenilworth-, Italian director Riccardo Frizza back in December to season Gran Teatre del Liceu in Barcelona to take command of another bel canto work, the great The Italian Girl in Algiers de Gioachino Rossini, before traveling to Bilbao, January, to direct I Lombardi in the first Crusade Giuseppe Verdi.

Barcelona Frizza demonstrate his mastery of the bel canto repertoire, which it is a recognized international expert, having two deals led by specialists such as mezzosopranos Varduhi Abrhamyan Y Maite Beaumont, tenors Maxim Mironov Y Edgardo Rocha and low-baritones Luca Pisaroni Y Simon Orfila. Frizza will be in charge of a production of Teatro Regio in Turin signing Vittorio Borrelli. The functions are the days 13, 14, 15, 17, 18, 19, 21, 22 Y 23 from December.

On his return to the podium of the Bilbao Association of Friends of the Opera (ABAO-OLBE) Riccardo Frizza if enfrentará a Verdi opera rarely programada como es I Lombardi alla prima crociata, day functions 19, 22, 25 Y 28 from January, work almost complete the project Tutto Verdi, one abaísta initiative that reviews the entire musical theater work by the Italian composer (the repertoire will be completed with Alzira and Jérusalem). This time the teacher Frizza will feature the voices of José Bros, Ekaterina Metlova and Roberto Tagliavini in the lead roles, in a production of Lamberto Puggelli for the Teatro Regio in Parma.

www.ricccardofrizza.com

Photograph: Joan THOMAS / Fidelio Artist

Maruxa

I returned to Maruxa home, he Teatro de la Zarzuela, almost 47 years later. It was in this theater which premiered at 1914 when its composer, Amadeo Vives, He was artistic director of the Zarzuela. And back in style. Upon entering we waited for the sound of a bagpipe that is creating the right environment to hear that, by musical director, José Miguel Pérez-Sierra, "It is a great Spanish opera of his time, and even more, It is a great European opera of his time. Vives, in the wake of Puccini, used as setting folklore, but with a completely orchestration Central, between the German and French traditions ".

When Daniel Bianco, director of Teatro de la Zarzuela, He commissioned Paco Azorín, take charge of the scenery became Maruxa, This asked him to do what he wanted. Y, of course, He has done what he wanted.

With the excuse, some, that the libretto Luis Pascual Frutos It is more than regrettable, so naif passages that do not exceed the most childish tales, Azorín has been allowed to build a new story. He wanted to pay tribute to Galicia and has adorned with verses of this Maruxa Rosalia de Castro and the elegant dance and live Maria Cabeza de Vaca, who embodies the character of Galicia as a goddess. It has created an atmosphere of mystery and meigas creating a forest full gauzy curtains moving and mist on a slate floor. All it enhanced with a successful lighting Pedro Yagüe.

But the second half came and with it the "do what I want". On battery images Urquiola disaster occurred in the seventies, He came the chorus, yes, in a memorable performance, dressed in overalls volunteers who cleaned up the spilled by the Prestige oil slick. A strange mix of events linked intentionally and stuffed with a shoehorn that generated some perplexity in the public. The end result was so strange forced the new argument. Only it served to detract prominence to a work and, especially, a music that deserves all the attention.

The direction of José Miguel Pérez-Sierra is very solid. Perfect knowledge of the score and the nature of the work, He maintained the tension from start to finish and got the better of a pit that increasingly sounds more roundness and solvency.

The vocal quintet was quite balanced. This work is an extraordinary vocal demands, both technical, and in sufficient volume to rival guarantees a powerful orchestra. He was noted for his vocal qualities and his stage presence, baritone Simon Orfila, in the role of Rufo.

A high altitude also shone the pair of protagonists Maite Alberola (somewhat old-vocal volume), and as Maruxa Rodrigo Esteves, in a remarkable Pablo.

Carlos Fidalgo he played a convincing Antonio and Svetla Krasteva He replaced in the character of an indisposed Rosa Ekaterina Metlova.

Curiosa Maruxa to be missed if you want to review first hand. a version, Paco Azorín the, for music lovers of Amadeo Vives but, especially, for theater lovers.

Angela Meade as Norma

Not surprising that Rule, which they say is the masterpiece of bellcantismo, and one of the repertory operas, it has taken 102 years to be represented at the Teatro Real in Madrid.

Bellini, bridge between classicism and romanticism, It took the curiosity of everyday emotions to a timid society by Catholicism. A true revolutionary of the romantic feelings he knew influence other composers. Chopin Bellini inherited the flexibility to address the tempo and harmony. Verdi Bellini moved the revolution from the private to the public, using the political connotations to create collective emotions. Wagner, one of the composers influenced by Bellini, he even compose a new version of the aria of the second scene Oroveso.

Why then it is not Bellini one of my favorite composers? Because of tastes ...

Norma is certainly a great work. It is full of small details, those who usually lives in the devil, but here they hide the delicacy of some extremely slow tempos that trace the romantic philosophy of work and full of complexity the work of singer, forced a slow release. Dilated melodies that require a well worked fiato, as it evidenced in one of the arias which is a "hit" from the opera, the long-awaited by the public "Casta Diva”, and summarizes the value of romantic time.

A time that Wagner had in mind to create Tristan und Isolde. A Isolde that, as Standard, It detonated himself on a wide and increasing melody.

But get down to earth. More specifically representation 21 October. This is a co-production with Teatro Real Palua Les Arts in Valencia, which already it premiered last season, y ABAO.

The scenery Davide Livermore It has clear cinematic influences. Through Game of Thrones or King Arthur, produces a dreamlike and fantastical atmosphere that features an overwhelming tree. It occupies much of the stage, rotates and moves as totemic element and oracle, where everything happens and everything is fulfilled. The intention is to create a claustrophobic atmosphere, as is the story itself. And it does.

The scenes are completed with projections D-Wok. that advance, as an oracle, the future that awaits the protagonists.

The energetic baton of maestro Roberto Abbado the overture began with excess volume. Onstage the dancers came and went, choir, scenic elements and projections amid an apparent bafflement. When it seemed that chaos had taken over the representation, He appeared on the scene, at the top of the tree, Angela Meade singing "Casta diva " Y, suddenly, reigned peace and harmony, everything is put in place and only then began Norma.

Before he made his appearance Meade, and part of the initial confusion, Roberto Arónica had begun its representation Oroveso. In woody and strident voice lacks depth and serious character. He improved in the second act and put more intention and nuance to their arias. His interpretation was cold and dispassion.

Simon Orfila He composed a Oroveso with good stage presence, but his voice, although well-pitched, not dark tones that have endowed his character that requires packing.

Angela Meade not only it came to bring order, It was the key to the appearance of the bel canto. powerful voice and clean emission, although with notable shortcomings interpretative, not stopped going up and down the many steps of the protagonist tree while singing. something worthwhile.

The Roman Veronica Simeoni, as Adalgisa, He was correct. Best in the duet with Norma second act, for which it seemed had been saving.
While Barcelona María Miró as Clotilde. It did not go unnoticed.

Norma waiting so long and has come up with a fundamental lack, the passion. It will have to wait. But other than another hundred years.

RULE
Vincenzo Bellini (1801-1835)
llirica tragedy in two acts
Libreto of Felice Romani, based on the work
Rule, or infanticide (1831) Alexandre Submits
First performed at the Teatro alla Scala in Milan 26 December 1831
Premiered at the Teatro Real 13 November 1851
New production of the Royal Theatre in co-production with
Palau de les Arts in Valencia and ABAO
D. musical: Roberto Abbado
D. scene: Davide Livermore
Scenography: wind Forma (Florian Boje)
Lighting: Antonio Castro
Video: D-Wok
D. choir: Andrés Máspero
Distribution: Roberto Aronica, Simon Orfila, Angela Meade,
Verónica Simeoni, María Miró and Antonio Lozano
Choir and Orchestra of the Teatro Real holders
Teatro Real in Madrid 21 October 2016

Text: Paloma Sanz
pictures: Javier del Real

Orfila

Just triumphed at the Teatro Colon in Buenos Aires with its unparalleled Dulcamara in L'elisir d'amore see Donizetti, character that the Spanish singer Simon Orfila will bring the Thèâtre Royale de La Monnaie in Brussels in September in a production of Damiano Michieletto in what will be his debut in the Belgian capital.

Vocally formed by the great Alfredo Kraus, Orfila participate in five functions from 8 September at the Belgian Coliseum marking the return of the popular Donizettian opera to La Monnaie after 30 years of absence in a co-production with the Teatro Comunale de Bologna and Real de Madrid. The montage bears the signature of the Italian regista Damiano Michieletto, one of the most sought-after stage directors in the world of opera, a proposal that transfers the action to a Mediterranean beach and is fully topical. The Theater Orchestra will be directed by Thomas Rösner and the cast includes the tenor Dmitry Korchak (Nemorino) and the soprano olga Peretyatko (Adina).

Simón Orfila has played the role of Dulcamara in his native Menorca, the Gran Teatre del Liceu in Barcelona, at the International House of Music in Moscow and at the Colón in Buenos Aires. Critics have highlighted his "clear diction and voice projection combined with scenic ease" (The nation). After his Belgian debut, the bass-baritone will return to Spain to participate in another opera by Donizetti, Lucia of Lammermoor, at the Barcelona Liceu.

www.simonorfila.com