Sat. Oct 19th, 2019

Plácido Domingo closes Real's season with Verdi | Culture

photo: Plácido Domingo and Carmen Giannattasio, in a rehearsal of 'Giovanna d'Arco' at the Teatro Real. (Video: Declarations of Plácido Domingo

For the third consecutive year, Placido Domingo The Real Theater season will be dismissed. On this occasion with Giovanna d'Arco, a youth opera by Verdi that will be performed for the first time at the Real this Sunday and can also be seen on the 17th and the 21st. Although the Madrid Coliseum will continue with the functions of another Verdian title, Il trovatore, until the 25th of this month. Domingo, who in the last decade plays baritone roles, will give life to Giacomo, the father of Juana, who will play the soprano Carmen Giannattasio, and King Carlo VII will be the American tenor Michael Fabiano. The opera, with libretto by Temistocle Solera -who was the second director of the Teatro Real in 1851- will be offered in a concert version with the American James Conlon at the head of the Orchestra and Choir of the Teatro Real.

"If everything goes well and my vocal cords are well oiled I will come to celebrate 50 years of my debut in Madrid singing the Giorgio Germont of The traviata and my son will be Michael Fabiano"Said Plácido Domingo, 78, who will participate in five functions (all in May of 2020) of the 19 scheduled.

Giovanna d'Arco, premiered at the Teatro alla Scala in Milan in 1845, it is one of the composer's lesser-known operas, but despite being poorly represented, it introduces very important elements in Verdian production. "Verdi always surprises us, no matter how much his work is analyzed, we will never fully understand it. At the beginning of my career (1972) I made a recording of Giovanna d'Arco incarnating the tenor, together Montserrat Caballé, a work that has served as an example for all the sopranos who have played after the French heroine. He is a Verdi a little Donizetian, close to bel canto. It presents us with something that wants to be a continuation of the aria of Lucia di Lammermoor in the scene of madness and is of great difficulty in romance, "says Domingo.

"The fact that it is a concert version is not negative, because it allows the audience to concentrate on the music and feel it in a more direct way than when it is presented scenographically," said conductor James Conlon.

"It is a work whose qualities are not in the dramaturgy. It is unfortunate that Verdi did not resort to a librettist with less ambition and more talent, "he said. Joan Matabosch, artistic director of the Real. Although Solera assured Verdi that his libretto was an original work, the truth is that it is inspired by Schiller's romantic drama. "Not only did the end change, and in the opera Juana does not die at the stake but on the battlefield, but also in the version of Solera is the father of Juana who accuses her and not the Inquisition," adds Matabosch.

"Verdi's characters are archetypes and he uses a structure that always repeats," said George Bernard Shaw, "Italian opera consists of a soprano who wants to make love with a tenor, a tenor who wants to make love with a soprano and a baritone. who wants to prevent it, "said James Conlon.

In addition to this last title, the Teatro Real will close on Saturday the 13th its program of Opera Week with a day of open doors especially dedicated to children. Younger children can create their own sketches, use costumes and characterize themselves as opera singers.

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