The initiative organized by the Nino Díaz Foundation and directed by the Lanzarote tenor Pancho Corujo marked a before and after on the Island, because despite being held in an unprecedented and unusual space in the operatic world, it witnessed the limits of ambition and a commitment to culture
The Terrero de Lucha de Tías hosted last Saturday, May 14, for the first time the opera of the
cursed jester, Rigoletto, on the occasion of the inauguration of the Lanzarote Opera Festival.
The initiative organized by the Nino Díaz Foundation and directed by the Lanzarote tenor Pancho Corujo marked a before and after on the Island, because despite being held in an unprecedented and unusual space in the operatic world, it witnessed the limits of ambition and a commitment to culture.
And it is that the choice of Verdi's work, as part of the composer's popular trilogy, was a guaranteed success, since the performance, in addition to the maledizione, brought with it
Lots of applause from the audience during the two hours of the performance.
Using traditional clothing, classic and colorful makeup, as well as warm lighting, the production transported viewers to the Italy of
1851, a context marked by the freedoms of the nobility, the struggle between the royalty and the commoners, as well as the revenge of the subordinates. The stage direction in charge of the Italian regista, Giorgia Guerra, managed to express the different personalities of the characters, their impulses, feelings and torments as proof of the duality of being. A chromatic and minimalist staging that was marked by the vivacity of emotions without interpretative gaps.
Musically, this Rigoletto had a first class cast. The Galician baritone Borja Quiza, in the skin of the cursed buffoon, was one of the fundamental pillars of this performance.
His widely projected voice and acting ability immersed all listeners in an aura of drama. at the height of the plot.
The artist was able to illustrate the different facets of the character without being carried away by emotions, as in Pari Siamo or Cortiggiani vil razza dannata, arias in which the full identification he kept with the role was perceived.
The soprano from Madrid Ruth Terán, for her part, provided an innocent and romantic Gilda. Her control over the instrument was reflected in the musicality and homogeneity that she exuded in the wide range of vocal nuances that she employed.
He also managed to delight the public with high-pitched passages in pieces such as Caro nome che il mio. For not highlighting the explosiveness and vocal harmony of the famous duet
And the sun of the soulnext to the Duke of Mantu.
A captivating atmosphere
As for the interpretation of
Antonio Gandía, as the Duke, totally fulfilled the expectations of an obnoxious role, but vocally irresistible. His long operatic career was perceived throughout his interventions and in socially representative arias such as
La donna e mobile or Ella mi fu rapita. Melodies that interspersed in the viewers' consciousness creating a captivating atmosphere.
The bass Manuel Fuentes, in the role of the murderer Sparafucile, showed the amplitude and sonority of his instrument, managing to harmonize with the dark and round timbre of the mezzo-soprano Blanca Valido, as Maddalena, in the trio Se pria ch'abbia.
A trio in which it was appreciated how the Festival choir, directed by maestro Juan Ramón Vinagre, to the sound of the Gaos Orchestra, under the baton of Fernando Briones, were fundamental pieces to enliven the intrigue of the plot. Without a doubt, a prelude that led to a tragic end.
It is also remarkable
the cast of Canarian voices that flooded the walls of the Terrero de Lucha. A cast led by
Borja Molina as Monteronewho managed to shake the public with his status as a baritenor in Chi gli parli, in addition to
Silvia Zorita as the Countess of Ceprano and Giovanna.
He showed a vocal versatility when interpreting two completely antagonistic roles, at the same time showing a metallic coloratura. The great voices of
Orlando Niz as courtier,
Borja Ortega as Count Ceprano, Sara Fernández as a page and the usher Néstor Suárez They also fulfilled their role in the development of the plot.
Without a doubt, a Verdian performance that captivated the audience and that led to more than ten minutes of applause and various bravos among the attendees. A perfect final touch that appeased the tragic atmosphere after the last act.