Carmen

Twenty years he has this Carmen from calixto Bieito finally arriving to the Royal Theater. Production more represented in the history of this opera, It comes with some controversy over "adjustments" that the art team has been forced to perform on supposedly offensive scenes. The changes are merely cosmetic, so as not to focus on certain elements that only pretended to be artistic expressions.

Based on the work of Prosper Mérimée, Bizet adapted the text, which was very attractive to the public at the time by the Spanish exoticism and somewhat lustful elements, and created some players that, this time, They were not kings, emperors or gods, If no characters from the street, exposed with maximum crudeness and far from existing operatic archetype so far. Bizet puts the work in a specific social category and in a particular medium. This is perhaps the main reason that made its debut result in scandal.

It should be clarified that gender opera comique, to which he belonged Carmen, It does not mean that it is a comic opera, refers to a genre that opposed the serious opera or great opera was represented in Paris. It is about, not so much of the humor of the arguments, if not technical issues, as alternating between fragments spoken and sung. This so straightforward to express the text mode has a great theatrical and musical impact. Music is much more direct and Carmen sings, are not arias, but songs, Bizet himself as he wrote. There is only one character, created by composer, since it does not appear in the original work, It is having arias themselves, Micaëla.

Bizet died just weeks after its release, without enjoying the success of his opera after the initial scandal. It was one of his disciples who, in an effort to make a serious opera Carmen, instead of an opera comique, He introduced a series of amendments adding recitatives and music. He managed thereby that the dominant image of Carmen throughout the twentieth century has been very different from the original idea conceived Bizet. It was important, because, reposition the story of Carmen and return the characters to their original idea.

It is here where it appears one of the virtues of Calixto Bieito, his way of directing actors. And it is this direction of actors, and not the scenery or stage elements, what makes the difference in this production over others we've seen before.

This Carmen is one of the first productions of Calixto Bieito. And he pointed it his taste for controversy and some extravagances often become protagonists of their productions. What we are not thought that, to modify any of these most controversial elements, Naked as the work quedase so the scenery of Alfonso Linings. Characterized by the absence of elements, He has presented an empty stage, Just a phone booth and some grant years 70, until 6, They have occupied the stage during the first two acts. He has not missed a naked, taste very Bieito, through a helper that makes the moon "as is" at the beginning of the third act. Decorated the bleak drama gets weaken and numbs the orchestra, that especially in the prelude and the first two acts he had a direction of Marc Piollet routine and little gimmicky. Despite being one of the most vital repertoire scores, got it sounded vulgar in some passages.

Bieito wanted to get away from the folclorismos that have characterized so many times this opera, but it does lunging others you españoladas. It merely update clichés, without leaving them. raising, contradictorily, a return to Spain deep.

In this dive to Spain tambourine, draws characters that, although they are closer to the original idea of ​​Bizet, They do not stop taking their roles forcefully. The Carmen de anna Goryachova It is full of sensuality, but his temperament is not as strong as intended. Vocally not much to blame. Her mezzo voice is homogeneous and balanced, although its volume was resulting in decreased as the work progressed. Its beautiful timbre looked more in the central records in serious but had a good performance, in general terms.

Francesco Meli not able to give the image of a rustic and fierce Don Jose. It turned meek, especially in the scenes of gang, much like West Side Story. In the vocal part he was more successful. It has a beautiful timbre and a good volume of voice were enough to tackle this role.

Eleonora Buratto builds a Micaëla which is not as naive as it may seem at first, suggests a self stroke. It is always a complicated character for being a little out of place, to be added in the work. The Buratto boasts a somewhat excessive volume of voice but lution in the arias and especially in his beautiful duet with Don José's first act.

The Escamillo of Kyle Ketelsen It is very attractive and manly. His resounding voice to the character fortalció. He defended his role with dignity.

The two pairs formed by comprimarios Olivia Doray, as Frasquita and Lidia Vinyes Curtis, as Mercedes and Maybe Borja, as Le Dancaire and Mikeldi Atxalandabaso, in the role of Le Remendado, were high, vocally and in interpretative. They are well within the decadent world unwrapped low funds created for the occasion by Bieito. The Lillas Pastia of Alain Azérot, a dastardly character, I was approached by the French correctly and professionalism.

The chorus, in its line of excellence. He shone particularly spectacular in the fourth act, by the Choir of Young Singers of JORCAM.

A Carmen, Regrettably, It will be best remembered for the scandal that was not, that staging.

CARMEN
Georges Bizet (1838-1875)
Opéra comique in four acts
Libretto Meilhac and Ludovic Halévy deHenri based on the novel (1845) Prosper Merimee
Premiered at the Opéra-Comique in Paris 3 March 1875
Production of the Opéra National de Paris
D. musical: Marc Piollet
D. scene: calixto Bieito
Scenographer: Alfons Flores
Costume designer: Merce Paloma
Lighting: Alberto Rodriguez Vega
Replacement: Yves Lenoir
D. choir: Andrés Máspero
D children's choir: Ana González
Distribution: anna Goryachova, Francesco Meli, Kyle Ketelsen, Eleonora Buratto, Olivia Doray, Lidia Vinyes Curtis, Maybe Borja, Mikeldi Atxalandabaso, Alain Azérot, Jean Teitgen, Isaac Galan
Headlines Choir and Orchestra of the Teatro Real
Little Singers of ORCAM

La clemenza de Tito at the Teatro Real Madrid

Turn away from our life everything that is not love ...”, They sing a duet Annio Y Servilia one of the most romantic moments of this opera. And so in love must be to venture successfully into the ice escenográfico proposed Ursel y Karl-Eenst-Rousset in its proposal last opera composed by Mozart written for the coronation pomp of Leopold II as King of Bohemia.

Time passes for this production was a success at its premiere, back in 1982. He had already aged when it came to this same theater 2012, and he has now aged further. Still it looks like the waiting room of a nursing home in the former Soviet Union, as we in 2012.

A scenic box of a brightly lit white that did not allow viewers stalls read subtitles, ended up getting bored and cooling, not only the public, singers also about those who found it difficult to keep up with the work. Partly because of the contagion scenario Arctic, and partly by the eternal silence to make minimal changes scenic Rome, one of the protagonists of the libretto, hardly suggests the appearance of a column. Not bad intention of stage directors wanting to emphasize the psychological aspects of the characters enhancing the absence of elements on stage, but it was not necessary to reach both.

Recitatives become routine when there is nothing in what support, visually or scenically. Luckily permanently Mozart came to the rescue of all, public and singers, They are immediately comforted by the music genius.

The musical direction Christophe Rousset, good knowledge of this repertoire and expert harpsichordist, He was becoming slow after a good overture. recitatives, Rousset itself accompanied by the fortepiano, They proved poor, if we consider his virtuosity, and they made eternal. Especially in the second part somewhat tedious.

No doubt the vocal ensemble of this production improves of 2012. Bernard Richter It is a lyric tenor with a good voice volume and enough agility to build a Tito solved. Its midrange and treble are powerful and bright. More difficulties had with the serious and the tempi of the recitatives.

Canary Yolanda Auyanet He was splendid in his role as Vitellia. A voice that is maturing with high quality. Clean and without artifice. Good phrasing that ran nimbly his particella. But he shone even more in the interpretive part. He put the spark and intent on stage desangelado.

He also shone pamplonesa Maite Beaumont as Sesto. He went that extra mile to make your voice heard. Best in proscenium.

Anna Palimina, born in Moldova, it unfolded very well in the role of Servilia. The penalty was the clothing that put him, especially shoes.

Another pleasant surprise of the evening was the Canadian mezzosoprano Sophie Harmsen as Annio. light and beautiful voice timbre. His sharp could well put him through soprano.

The Italian baritone Guido Loconsolo It has a good stage presence, but Publius felt very uncomfortable out of the worst records. As to the rest, slow and boring recitatives were more a problem than a relief.

The Holder of the Royal Theatre Choir as always, magnificent. participation as rain in May was expected to break the routine scenography.

A replacement has served to pay tribute to Gerar remembered Mortier, who commissioned this production. Outside this commemoration, this Clemenza not give much more.

THE MERCY DE TITO
Wolfgang Amadeus Mozart
serious opera in two acts
Libreto de Pietro Metastasio, adaptado por Caterino Mazzola
Released in the National Theatre in Prague 6 September 1791
Premiered at the Teatro Real 12 March 1999
D. musical: Christophe Rousset
D. scene: Ursel y Karl-Ernst Herrmann
Scenographer, costume designer and illuminator: Karl-Ernst Herrmann
D. choir: Andrés Máspero
Distribution: Bernard Richter, Yolanda Auyanet, Maite Beaumont, Anna Palimina, Sophie Harmsen, Guido Loconsolo
Headlines Choir and Orchestra of the Teatro Real

Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real