Fri. Apr 26th, 2019

Imagination versus absurdity

Imagination versus absurdity



This week we have witnessed two practically antagonistic shows: "Dido and Aeneas" at the Teatro Real and "La forza del destino" at Covent Garden, offered in more than a thousand cinemas all over the world. Purcell came from the hand of the choreographer Sasha Waltz, the Akademie für Alte Musik Berlin and the Vocalconsort Berlin with an imaginative show, of great plastic beauty and very worked. More ballet than opera proper and with more scenic power than vocal. Certainly not everyone liked it and so a well-known composer and manager who had by my side abandoned the performance before his half. The mime scene without music and perhaps other additions was probably left over, but it had the virtue of knowing how to bring to Baroque opera the current concept of musicals. There were no great singers or great dancers, although everything worked very greasy. The public could be surprised at the beginning, but mostly was entering the concept. In Covent Garden the opposite occurred: great voices and painful stage production. Anna Netrebko he was formidable, although he could not emulate the Caballé of his great times. Jonas Kaufmann, already competing in kilos with Placido Domingo, sang with many nuances, despite the fact that the vocal projection is not that of yesteryear. Ludovic Tézier He wore a voice, Veronica Simeoni danced better than sang, Alessandro Corbelli he contributed his good comic and Ferruccio Furlanetto your kind of great artist. Formidable Antonio Pappano in the pit But what of Christof Loy in the scene it was painful. A Verdi so dark that the artists could hardly be distinguished. A single room, that of the Calatrava family, for all the opera that was oppressive and claustrophobic, as well as incoherent with the text. It is true that the opera -and especially this one- frequently presents many absurdities, but it is not a matter of accentuating them, because they evict from dramatic intensity the drama of the Duke of Rivas. But, of course, there is a long way between Covent Garden and Real. In one you can see together in the same opera Netrebko, Kaufmann, Tézier and Furlanetto at 322 euros and in the other you can not smell 390 euros.

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