Rigoletto. Verdi. Bilbao

 

Rigoletto5.Verdi.Bilbao

20oct2013

Melodramma in three Actos

Book of Francesco Maria Piave, based on «Le roi s’amuse», of Víctor Hugo

Premiered at the Teatro la Fenice in Venice on 11 March 1851

Euskalduna Palace

19 October 2013, 20:00

Production: OLBE-ABAO and São Carlos national theatre of Lisboa

After a first orgiastic scene dizzying and surreal, Leo Nucci, on his splendid 71 years, dominates the scene, from «Quel vecchio», the dense, dark and foreboding Duetto with Sparafucile, brilliantly played by the bass, Felipe Bou, and perfectly wrapped by a maze of firefly-candles, involving both in a play of chiaroscuro that will be the pattern of the great conceptual proposal of Emilio Sagi, a proposal based on inclined planes and mazes, volumes and structures in which louvers, greys, lights and shadows cover of mystery throughout the work, which highlights the red as premonitory brushwork of the inevitable tragedy.

Leo Nucci gave us a masterclass of singing and interpretation, by calculating every nuance, dominating every dynamic to perfection, from the pianíssimo to the very strong season, as in the famous aria from the end of the second Act, «Cortiggiani…». He sang with line and diction impeccable, delighting an audience delivered in advance. It has an enviable voice at age 71, with a resounding and uniform timbre. He makes some nasal sounds on purpose, to give a sarcastic tone to his Parliament, and to rest the «guttural», why not say it, but it does so with the restraint that only grant mastery and experience. And that, according to his own words, «if not because of some cancellations, this would be my 500th Rigoletto». And it shows. Yes, he performs some low attack, «in the old way», but that, even today, likes.

Elena Mosuc, that debuted in OLBE-ABAO in the role of Gilda, did not stayed behind, since the first Duetto with Rigoletto, demonstrating a some wonderful pianissimi. In the Duetto with Ismael Jordi, ending with over acute a D-flat, they both boast a line of singing and a delicious medium voice.

Already in the second Act, she sings an anthological «Ella mi fu rapita…Parmi veder lagrime le», displaying a few absolutely enviable middle voices, and Elena Mosuc and Leo Nucci will have to encore the Duetto of the end of the second Act.

In the third act the red dominates the bottom of the scene, anticipating the fatal outcome. In the same bed in which Il Duca sings the famous aria «La donna è mobile», Gilda is murdered by Sparafucile. The nest of love become death bed, on a slope that I feel the slope of life that, as if it were an allegory of the slopes that run the rivers of Jorge Manrique, brings us, as they did, to the inexorable sea of death.

Miguel Ángel Gómez Martínez, despite carrying some numbers rather slow, as the aria «Questa o quella», the Duetto of Rigoletto and Gilda on the first Act, or the Quartet «Bella figlia de amore», conducts the Orchestra of Bilbao, the Bilbao Opera choir and the soloists, all very well in their respective roles, with safe and passionate mastery that characterizes him.

Nuria Castejón choreographer debuted as responsible for carrying out the replacement, signed by the great Emilio Sagi. He couldn’t with Leo Nucci. We will never know if the original proposal was even better.

All an all, a great event with the opera in capital letters, almost three hours of sublime spectacle. Standing ovation for 10 minutes at term.

ARTISTIC TAB

RIGOLETTO: LEO NUCCI

GILDA: ELENA MOSUC

DUCA DI MANTOVA: ISMAEL JORDI

MADDALENA: MARIA JOSÉ MONTIEL

SPARAFUCILE: FELIPE BOU

GIOVANNA: AINHOA ZUBILLAGA

CONTE DI MONTERONE: JOSÉ ANTONIO GARCÍA

MARULLO: JAVIER GALÁN

CONTE DI CEPRANO: CÉSAR SAN MARTÍN

CONTESSA DI CEPRANO: EIDER TORRIJOS

MATTEO BORSA: EDUARDO ITUARTE

PAJE: SUSANA CERRO

OSE

COB

MUSICAL CONDUCTOR: MIGUEL ÁNGEL GÓMEZ MARTINEZ

SCENE DIRECTOR: EMILIO SAGI

REPLACEMENT CHOREOGRAPHY AND SCENE CONDUCTION: NURIA CASTEJÓN

SCENOGRAPHY:  RICARDO SÁNCHEZ CUERDA

COSTUME: MIGUEL CRESPÍ

LIGHTS: EDUARDO BRAVO

 

in three Actos

Book of Francesco Maria Piave, based on «Le roi s’amuse», of Víctor Hugo

Premiered at the Teatro la Fenice in Venice on 11 March 1851

Euskalduna Palace

19 October 2013, 20:00

Production: OLBE-ABAO and São Carlos national theatre of Lisboa

After a first orgiastic scene dizzying and surreal, Leo Nucci, on his splendid 71 years, dominates the scene, from «Quel vecchio», the dense, dark and foreboding Duetto with Sparafucile, brilliantly played by the bass, Felipe Bou, and perfectly wrapped by a maze of firefly-candles, involving both in a play of chiaroscuro that will be the pattern of the great conceptual proposal of Emilio Sagi, a proposal based on inclined planes and mazes, volumes and structures in which louvers, greys, lights and shadows cover of mystery throughout the work, which highlights the red as premonitory brushwork of the inevitable tragedy.

Leo Nucci gave us a masterclass of singing and interpretation, by calculating every nuance, dominating every dynamic to perfection, from the pianíssimo to the very strong season, as in the famous aria from the end of the second Act, «Cortiggiani…». He sang with line and diction impeccable, delighting an audience delivered in advance. It has an enviable voice at age 71, with a resounding and uniform timbre. He makes some nasal sounds on purpose, to give a sarcastic tone to his Parliament, and to rest the «guttural», why not say it, but it does so with the restraint that only grant mastery and experience. And that, according to his own words, «if not because of some cancellations, this would be my 500th Rigoletto». And it shows. Yes, he performs some low attack, «in the old way», but that, even today, likes.

Elena Mosuc, that debuted in OLBE-ABAO in the role of Gilda, did not stayed behind, since the first Duetto with Rigoletto, demonstrating a some wonderful pianissimi. In the Duetto with Ismael Jordi, ending with over acute a D-flat, they both boast a line of singing and a delicious medium voice.

Already in the second Act, she sings an anthological «Ella mi fu rapita…Parmi veder lagrime le», displaying a few absolutely enviable middle voices, and Elena Mosuc and Leo Nucci will have to encore the Duetto of the end of the second Act.

In the third act the red dominates the bottom of the scene, anticipating the fatal outcome. In the same bed in which Il Duca sings the famous aria «La donna è mobile», Gilda is murdered by Sparafucile. The nest of love become death bed, on a slope that I feel the slope of life that, as if it were an allegory of the slopes that run the rivers of Jorge Manrique, brings us, as they did, to the inexorable sea of death.

Miguel Ángel Gómez Martínez, despite carrying some numbers rather slow, as the aria «Questa o quella», the Duetto of Rigoletto and Gilda on the first Act, or the Quartet «Bella figlia de amore», conducts the Orchestra of Bilbao, the Bilbao Opera choir and the soloists, all very well in their respective roles, with safe and passionate mastery that characterizes him.

Nuria Castejón choreographer debuted as responsible for carrying out the replacement, signed by the great Emilio Sagi. He couldn’t with Leo Nucci. We will never know if the original proposal was even better.

All an all, a great event with the opera in capital letters, almost three hours of sublime spectacle. Standing ovation for 10 minutes at term.

ARTISTIC TAB

RIGOLETTO: LEO NUCCI

GILDA: ELENA MOSUC

DUCA DI MANTOVA: ISMAEL JORDI

MADDALENA: MARIA JOSÉ MONTIEL

SPARAFUCILE: FELIPE BOU

GIOVANNA: AINHOA ZUBILLAGA

CONTE DI MONTERONE: JOSÉ ANTONIO GARCÍA

MARULLO: JAVIER GALÁN

CONTE DI CEPRANO: CÉSAR SAN MARTÍN

CONTESSA DI CEPRANO: EIDER TORRIJOS

MATTEO BORSA: EDUARDO ITUARTE

PAJE: SUSANA CERRO

OSE

COB

MUSICAL CONDUCTOR: MIGUEL ÁNGEL GÓMEZ MARTINEZ

SCENE DIRECTOR: EMILIO SAGI

REPLACEMENT CHOREOGRAPHY AND SCENE CONDUCTION: NURIA CASTEJÓN

SCENOGRAPHY:  RICARDO SÁNCHEZ CUERDA

COSTUME: MIGUEL CRESPÍ

LIGHTS: EDUARDO BRAVO

Traducción: María García-Rosado