The confiscation of Mozart | Blog Recondita armonia

The confiscation of Mozart | Blog Recondita armonia



One of the greatest landmarks in the contemporary history of the Teatro Real was the Dialogue of Carmelites. For the musical depth of L├│pez Cobos. And because Robert Carsen conceived a scenic prodigy in the dramaturgical extrapolation of Poulenc's music.

The theatrical space seemed like the resonance box of the score, its only theatrical output. There was an amazing continuity between the pit and the platform. Carsen demonstrated the audacity with which so many other times he has been able to find the structural key, the secret number, the solution of the enigma.

It is the reason why the disagreement of Idomeneo. The fourth wall seems more like a wall that hinders not Mozart's music but the careful and scrupulous reading of Ivor Bolton. The fluidity of the pit drowns on the stage. And there is a short circuit that conspires against the political and even conjunctural ambitions of assembly.

It is enough for Carsen the migratory news and the geographical symbol of Crete to convert Idomeneo in the cut of a contemporary refugee crisis and in the pretext of a military conspiracy.

The problem is not the focus, it is the result. The question is not transgressing literality, but stripping Idomeneo of its mythological projection, disentail, trivialize or relativize the metaphysical or supernatural features.

The identification of Idomeneo with Neptune, eloquent in the outcome of the second act and powerful in its scenic resolution, means that the king of Crete is a megalomaniac tyrant. Exactly how it had happened a few weeks ago with the Wotan of The gold of the Rhine.

It has been accidental that Carsen succeeded Carsen in the winter programming of the theater, but it is also evident the demystifying criterion with which it disrupts the opera of Wagner and Mozart, both conceived from the military tension and from the dramaturgical corpulence.

It is the reason why he suffers the most Idomeneo what The gold of the Rhine. Carsen proposes postcards of enormous plastic beauty. Impress with the technological resources. He obtains passages of aesthetic tranquility -the first aria of Idomeneo-, but he does not always listen to Mozart's music or pay attention to Bolton's aesthetic and chromatic effort.

The British teacher initiates a version of extraordinary plasticity. Listen to the singers. The empasta with the rich timbre of the orchestra. And it is right in the use of the original instruments-natural flutes, wood flutes, timbales-to recreate a beautiful, contemplative, dynamic musical discourse, heir to the baroque, Beethoven's predecessor, whose emanations are too often frustrated in the refractory wall of Carsen .

We can not speak of a mediocre montage, but of an idomeneo more failed than interesting. A Mozart disconnected. An opera that flows in the pit and that is disturbed on the stage, both by the massification of extras – refugees, the military – and by a warlike ardor that surprises Bolton in his "pacifist" reading.

The teacher's work is exemplary in the heterogeneity of sound and in the homogeneity of the concept. His own diversification into an orchestra conductor and accompanist to the harpsichord unifies the recitatives with the arias and predisposes the umbilical relationship with the singers. Valiente the Idomeneo of Cutler, refined the Idamante of David Portillo, exquisite the Illia of Annette Fritsch, imposing the Electra of Eleonora Buratto, although some and other artists wander in a hostile scene, as if they had mistaken opera and as if the only way to avoid drift and crash with the rocks were the hands of Bolton in the gloom of the pit.

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