Prag National Theatre. 25 October 2013.
The baritone from Madrid Luis Cansino debuted successfully in the beautiful scenery of the Czech capital, the eponymous character of this work, exhibiting its good ringed and powerful instrument that advances strongly in what is referred to as a Verdi baritone with a good line of singing and vocal quality. He also has the histrionic temperament according to what require similar commitments – in this case showing the tenderness in the counts with his daughter Maria/Amelia, the blind hatred against his political opponents or his pathetic death at the end of the work – issue essential to close the character with luster.
His opponent, the patrician Jacobo Fiesco, was embodied by the bajo Jiří Sulženko correct but without the vocal authority needed by the character. The soprano Maria Kobielska also debuted the role of Maria/Amelia. She showed an excellent rapport with her peers on stage, with a remarkable sound flow and some boldness that made her attractive with the sensitive stroke that she drew her character. Strong though not always perfect was Gabriele Adorno Mexican tenor Rafael Álvarez, a voice of southern temperament and courage in the high register.
Veteran Ivan Kunsjer was a cold but correct Paolo Albiani, delivered to the cause to raise the overall level of representation, similarly to the co-primary characters and choir, of great relevance in this title.
The music reading of Jaroslav Kyzlink blew heat to the cold Verdi score, achieving beautiful pirouettes in the flight of the titular Orchestra of the National Theatre in Prague. The visual aspect that arose carries the signature of the renowned stage director David Pountney (present that night in final greetings) and premiered at the Welsh National Opera in 1997.
With these data the understanding of its conceptual proposal with a unique scene tinged with very few elements of props is clearer. Three lustrums later all that has been and revisited in several ways. However, see a nearly «genuine» is very interesting, because theatre technology does not use much the resource of projections and get different atmospheres in a same space was joint work with a good set designer (that here wonderfully resolved by the judge and respected Ralph Koltai), traits that can be achieved with a suggestive lighting (Daniel Tesař) design and the visual thrust of a chord costumes in the color palette and their formal realization (Sue Willmington). The public applauded warmly the staging, strongly to Maestro Kyzlink, all the soloists and received a standing ovation the protagonist baritone character.
* Federico FIGUEROA.