There is little to comment on the end of the product was advertised as "live cinema high cultural level." In Act tenor par excellence, Grigolo has returned to Sanremo, also showing more technical shortcomings than ever. The Canzona passed without nuances or spavalderia, while the handsome singer gave a recital of new faces. The Quartet appeared attempts to give charm to your line with smorzature nice, but the gasps at the wrong time and other distortions in the emission spoiled the whole. It would also be desirable to a tenor who was able to meet its final sentences in the number without taking a breath as an ordinary student. Miss Novikova continued mired in Brave New World, imperturbable expression hallucination. During the great Terceto their sound just disappeared, lacking any metal. Beside him was Raimondi actor and singer that only acts, but at least he knows what he is saying at all times. Like her sister, Nino Surguladze offered a compelling presence and a voice of undeniable quality, but released to the Slavic (in its worst sense.) Sounds as heard in "Valev di più "are a bad taste stale. At least his performance reflected a malevolent Maddalena and not a mere embellishment. For its part, Plácido Domingo offered the ultimate in tricky and tricky issue. Almost whispered Quartet while in the monologue of the seventh to ninth Scenes seemed determined to imitate Fafner in his cave. Quite grotesque. Naturally, when he had to link two sentences ("Ah, mio \u200b\u200bben only in terra") deflated like a balloon. This did not prevent him from daring to close the opera with a pitiful puntatura to the natural. The fact that hundreds of television live or have been connected to millions of viewers have seen it will not change the fact that it has been a show of artistic its lowest level, with an old character who refuses to accept his non-divinity and a cast that coexist singers should go back to school or opt for a cautious withdrawal.
With these rushes, Mehta was limited to offering flexible times, with a passage electrifying as the Trio (despite the excess decibels)
With these rushes, Mehta was limited to offering flexible times, with a passage electrifying as the Trio (despite the excess decibels)
As an afterthought, only express the hope that sometime in the filmmakers realize that singing opera is incompatible with the close of this overwhelming production. Sweats, spitting (on the part of the lords), faces of every imaginable kind, all in microscopic detail, while the original scenarios cheered passed almost unnoticed. Open bar
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