New production of the Teatro Cervantes on which there is little to tell. Humble and honest, just struck by the amount of movement of the easement around the true story. Without becoming a clog, do not tell him anything to the viewer. Effective characterization of each pair, the frivolous and pathetic, and sympathetic complicity between Don Alfonso and Despina. Production develops, always within the legitimacy, the most caustic of the text of da Ponte making explicit certain details - such as a license that gives it that the fall of Dorabella and Fiordiligi not limited to breaking one's word or exchange a retratito.
on the direction of Lorenzo Ramos would be hard to say anything except that tempi were consistent and there were moments to sparkle in the conclusion (as the End of Act One). The orchestra sounded surprisingly subdued (even taking into account that the pit is partially covered by the stage) during the first act and most of the second. A wind soloists had to see through and it was not possible to assess in detail Most of the accompaniments.
also had to sharpen the ear in the first scene of the opera to try the male soloists. Fortunately both Francisco Corujo (Ferrando) and Enrique Sanchez-Ramos (Guglielmo) improved significantly its forecast overnight, but not to the point of changing a trial that can not be very favorable. Corum is a very slight tenor voice with artificially impostada nose. This can be attributed to a desire to imitate the timbre of Dermota (even more than that of Kraus) prevents their release to have freedom and fulfillment, which together with its modest natural qualities situates in the same limit to act in a theater bombonera. Sing with a legato pulidito and elegant as well as get an idea of \u200b\u200bstyle, but played the melancholy melodies without intensity and air control not allowed to give much variety to its line of song. A singer with good intentions that accompany it does not seem quite the means to take leading roles. When one reads that he is singing Edgardo and Romeo can only wonder. In the same category is extremely lightweight singer Sanchez-Ramos, who also has little baritone with a timbre that sounds rather short tenor. However, it was very funny and communicative their arias - always better marked than sung - and loving and flirtatious in the duet with Dorabella.
also had to sharpen the ear in the first scene of the opera to try the male soloists. Fortunately both Francisco Corujo (Ferrando) and Enrique Sanchez-Ramos (Guglielmo) improved significantly its forecast overnight, but not to the point of changing a trial that can not be very favorable. Corum is a very slight tenor voice with artificially impostada nose. This can be attributed to a desire to imitate the timbre of Dermota (even more than that of Kraus) prevents their release to have freedom and fulfillment, which together with its modest natural qualities situates in the same limit to act in a theater bombonera. Sing with a legato pulidito and elegant as well as get an idea of \u200b\u200bstyle, but played the melancholy melodies without intensity and air control not allowed to give much variety to its line of song. A singer with good intentions that accompany it does not seem quite the means to take leading roles. When one reads that he is singing Edgardo and Romeo can only wonder. In the same category is extremely lightweight singer Sanchez-Ramos, who also has little baritone with a timbre that sounds rather short tenor. However, it was very funny and communicative their arias - always better marked than sung - and loving and flirtatious in the duet with Dorabella.
who did not improve anything was Felipe Bou, speaking for most of the opera except "Soave sia il vento." Speaking here destroyed the effect of the sublime page with a dreadful tune at the beginning (not surprisingly, her companions to follow him in his excursion to the Vienna of Schoenberg) and a series of unspeakably fixed and nasal sounds. One of the worst things you've heard in theater and on disc.
On one level higher, as usual, the ladies. Angelica Mansilla, classified as mezzo , is actually a young soprano whom even the situation of having a little uncomfortable Dorabella (appears vibrato and masking is doubtful) but he sang with more spark as the character became more voluble and sensual, warm in "Il core vi dono" and irresistible "È amore a ladroncello" (in implacabili Smania "was discretita instead.) The bell is certainly attractive and musical. Assuming the role with more difficulty speaking, Saioa Hernández had a good performance, which is saying something in this paper. The lyric soprano voice and could be much prettier and sharper if was not set on "bottling" a little in the area of \u200b\u200bway - is supposed to darken. Resolved the wide tessitura (characterized by strenuous passages di cantilever) smugly, but haughty serious a noticeable but not overdone. This did not hide any of the weak sound scary descents, which is understandable. The sharp end works fine, but might have more point if the issue respect the nature of the instrument. Of all the singers, was the legato exhibited a more real, because she knows the sound thin and the strength of support ensures fluidity. Gave character to paper and offered the best moment of the night "Per pietà, ben mio ", with the appropriate point of fineness and strength. The agility were better resolved in his first aria, where he took a breath at various points not provided. It appears that this significant artist just Standard and Imogene debut, which is worrying for a voice that has so far attended roles as Mimi or Micaela, who are under him.
Sonia de Munck has a soubrette voice issued reasonably well and was fun as Despina, although not a very imaginative singer.
entire cast in general offered the recitatives with grace and purpose, which is appreciated in an era dominated by European singers that do not smell this section.
The beginning of the performance was downright bland, but it was taking pace and at times (especially in whole numbers) one would forget the limitations of the deal, which is a good sign. The choir did not look particularly filling, but it was also improving.
From here I send you a reminder of the rude of Paradise blew his nose shamelessly ten times longer. Never seen before. Open bar
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