Das Rheingold. Wagner. Oviedo. Spain

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Das-Rheingold4.Wagner.Oviedo
Campoamor Theatre. September 17.
Jump into programming the Wagner tetralogy – a part every year – seems an impossible task that only can be carried out in Bayreuth and the large theaters in the world. However, it deserves all our applause when a theatre with reduced means as it is the Campoamor of Oviedo does launch this adventure.
But also the public has enjoyed at maximum as demonstrated with their final applause and their braves.
Michal Znaniecki, of great reputation and original ideas, signed a production of great artistic beauty especially in still images. He used the mapping fashion scenographic method, with the technician Antonio Diego. There were great moments as the image of the big dry tree; however the excessive abundance of images did not help the concentration of the public. The projected texts overran as they added nothing. The final solution using the room as a very suitable Wahalla – hardly could be done in another way that would not be ridiculous – and full of symbolism. Any way, the narrative was clear and clean but too static. The costumes were beautiful except for the Giants. There are other better solutions.
Vocally was a very good cast. With only a single mole, tenor Cesar Gutierrez in the role of Loge; really bad, outright. The rest remained a good level. The bass Kurt Rydl sang an impressive Fafner. The Wotan of Tomas Tomasson had great moments together with others weak. Jorge Rodríguez-Norton was adequate and in a good line, perhaps a little to the limit. Thomas Gazheli embodied Alberich displayed a central register powerful and beautiful. The Mime of Daniel Norman had a good performance, no more. Felipe Bou sang very well the Falsot but lacked presence. Perhaps the best globally was David Menéndez performance power tuning and scene authority. The «Heda! Heda! Hedo!» was one of the most impressive moments.
The women took the best part. Elena Zhidkova maintained a magnificent ridge line and very expressive. The Maite Alberola Freia was discreet. In boxes, Birgit Remmert sang the Urda with attractive vocal color. The three daughters of the Rhin sang with different fortunes. The mezzo Pilar Vazquez has a not very pleasant, hoarse voice. Eugenia Boix fulfilled; and Sandra Ferrández highlighted with beautiful vocal color, clean highs and great pianos.
The Symphony Orchestra of the Principado is not a Wagnerian Orchestra; lacks color, range, power, lace, but fulfilled, more over taking into account that the pit does not allow a full orchestra for Wagner.
The Maestro Guillermo Garcia Calvo led neatly. Nothing was out of place nor were drops in voltage. Lpo took everything wonderful for getting what is only possible with this formation: a vision almost of chamber music that is not objectionable at all. On his attention to the singers demonstrated once again that he is a major director of opera as he comes showing in Vienna and Berlin among other places. Stark gestures were very effective and elegant.
A good start of the Oviedo Opera season.
Francisco García-Rosado

Traducción: Maria García-Rosado