The Israeli teacher Daniel Oren celebrated yesterday in the Alfredo Kraus Auditorium the commitment of Spain to resume live shows despite the situation of the pandemic. “Spain is one of the few countries where opera is being made and it is admirable,” said the famous director in the framework of the presentation of the penultimate title of the 54th Las Palmas de Gran Canaria Opera Season, Cavalleria Rusticana, where he will direct the Orquesta Filarmónica de Gran Canaria (OFGC) in three functions scheduled on May 18, 20 and 22, in all cases, at 8:00 p.m.
Along these lines, Oren pointed out that he believes it is necessary to follow the example of Spain “because, without the public, the artists are dead.” In this regard, he stressed that these days in the capital of Gran Canaria he will have the opportunity to go on stage “being able to have the public breathing behind him”, unlike what he has experienced in previous concerts that he has offered in the context of the pandemi, in which has performed remotely for viewers who followed them online.
And it is that, in Oren’s opinion, not having the proximity of people distorts live music. “I hate ‘streaming’!”, Said the teacher during his speech, where he was accompanied by Ulises Jaén, general and artistic director of Amigos Canarios de la Ópera (ACO) and Tilman Kuttenkeuler, general director of the Fundación Auditorio y Teatro de The Gran Canarian palms.
Cavalleria Rusticana is ACO’s own production, which they premiered for the first time in 1970. It is Melodrama in one act with music by Pietro Mascagni and Italian libretto by Giovanni TargioniTozzetti and Guido Menasci, based on a story by the novelist Giovanni Verga. Considered one of the classic operas of verismo, the piece was premiered for the first time on May 17, 1890 at the Teatro Costanzi in Rome.
As for its plot, the action takes place in Vezzini, a town in Sicily, on an Easter Sunday. The young Turiddu – Doña Lucia’s son – had a relationship with the beautiful Lola, but when he returned from the conscription, he found her married to the prosperous carter Alfio. Out of spite, he seduces Santuzza – the only daughter of a rich merchant – who falls madly in love and surrenders to him. But the unfaithful Turiddu does not stop harassing Lola and serenades her in the absence of her husband.
However, both the renowned director and those responsible for the Las Palmas de Gran Canaria Opera Season have appreciated some consequences of the crisis generated by Covid-19, such as the circumstance that time restrictions have led to this classic of Mascagni is programmed alone and without being complemented by another work due to its short duration, as has traditionally been customary.
This is a sign that “some positive things have come with the prevention and restriction measures” imposed by the coronavirus, since it is a piece that “deserves to be a protagonist,” said Kuttenkeuler. He has expressed his regret that the pandemic has forced the transfer of this year’s lyrical season for reasons of capacity to the Alfredo Kraus auditorium from the Pérez Galdós theater, his usual stage, to which he “hopes to return” next season, understanding that It has “a better atmosphere for opera.”
However, what the festival will continue to count on on this occasion is internationally famous artists, stressed Ulises Jaén, artistic director of the entity behind this veteran cultural event, Amigos Canarios de la Ópera.
In this regard, even the Covid-19 crisis has been favorable to it, by making it possible to hire world-class figures that are rarely accessible due to their numerous commitments and who were now available precisely because of the paralysis of their activity in most of the theaters. lyrics from the rest of the world. An example of this is, in fact, the presence of Daniel Oren, who was agreed at the last minute and as a result of “a coincidence”, as Karel Mark Chichon, who was initially expected to count, could not take his place and had to look for someone to replace him with the work of Mascagni.
The Israeli teacher completes the “excellent cast” assembled for this production, in the words of Ulises Jaén, which includes interpreters such as the Spanish Sergio Escobar, the Russian Yuli Matochkina and the South Korean Youngjun Park.