Another bravo deserve the ACOs for bringing the entire program of the season to fruition, when the vast majority of the world’s lyrical spaces have bolted since the beginning of the pandemic and for the most part still remain unopened. And congratulations to the Auditorium and the Galdós for their exemplary contribution in such difficult conditions.
Macbeth is the best and most complete title of Verdi’s first stage. Its structure and style prelude access to the latter, surpassing even some of its successes. On stage, the director Alfonso Romero and his team freely present a genuine scenographic concept, a clear and well-defined idea. Without diminishing the melodramatic unity, they visualize with timeless objects and elements a reading of the passion of power wrapped in the apparent innocence of a garden of white flowers that courteously ironic bloodthirsty ambition and its consequences in the course of history and in privacy. regicide.
Nine conventional white doors unfold throughout the scenic mouth, separating two planes of reality: that of what happens or has to happen, and the real space of horror and panic. The lighting and videographic elements contribute to the representation of the inner world imagined by two geniuses: Shakespeare and Verdi. Applause to Romero for finding his hidden dramatic virtuality in a non-theatrical setting.
The protagonist sings a powerful but sensitive baritone in the diversity of the broadcast: George Ganidze, clearly possessed by the character on the inner journey from ambition to fear and death. Masterfully builds the character in a very rich transformation of color and expression. The no less powerful dramatic soprano Anna Pirozzi develops Lady Macbeth from an excessively sonorous concept. The high-pitched scream may win, but it is not convincing.
Something was wrong with the acoustics, insufficiently proven, because in dynamics with less efes the Pirozzi has a high quality timbre, a beautiful, youthful, very musical sound. Her Lady, definitely, is grand, imposing in sound or very beautifully colored in the low and central registers, well measured. It was the most applauded, on a night of enthusiastic clapping for the entire cast.
The excellent soprano Estefanía Perdomo stood out notably, although her brilliant treble also sounded very strong at times, probably due to the aforementioned acoustic effect. The bass Marco Minica is magnificent in extension and density and all the others are very good and Macbethian: the tenors Fabián Lara and Francisco Corujo; Iván Ferrara, Cesar Morales, Andrea Gens and Clare Bordeaux.
The musical director Francesco Iván Ciampa opted for brilliance, achieved professionally without an always clear setting and with eventual detonations perhaps generated by the unexpected response of the space.
In all fairness he highlighted in the applause to Olga Santana, director of the Opera Choir in a range of pages very varied in technique and character. Splendid the famous patriotic choir Patria Opressa, how could it be less …