Maestranza Theatre in Seville. 25Junio 2013.
The opera season of Seville finishes with a title of the most popular in the Repertoire and a double incentive. A double cast has been scheduled counting with the presence of Leo Nucci in one of them, while the alternative distribution offers the attraction to present three Andalusian singers in the main protagonists of the opera and that is the cast of the representation that we are Talking about
Judging by ticket sales, it appears that a greater box-office success has come at the hands of local artists. Which seams funny.
The production is none other than the well known of Stefano Vizioli from the Teatro Regio of Parma, where I had the opportunity to see in 2008. It was then announced as new production. In fact it’s an adaptation of a much older show. Many of my readers know it, since they have had the opportunity to see it on Video or DVD. If I am not mistaken, the same Alfredo Kraus sang Il Duca di Mantova in the same production. What characterizes this stage show is undoubtedly the sets and costumes of the defunct Pierluigi Samaritani. Production of large and beautiful decorations, worthy to be played at the Metropolitan in New York. Within its grandeur, we are facing a production that notices age and traditionalism that oozes everywhere. A production that would be unthinkable in Germany.
A first act in which the licentious Court of del Duca, with the presence of young Woman having fun and light clothing, including the daughter of Monterone.
The Rigoletto offers a room without major pretensions, back in Act III to the Palace of the Duke, which include neoclassical walls, to finish with a final act on two levels, which reminds a lot to the one offered by Otto Schenk in the well known production of the Metropolitan.
All an all, a production in the purest tradition, which is warmly, and which highlights the hand of Samaritani.
Vizioli makes a proper stage directions.The musical direction was entrusted to the holder of the theatre, Pedro Halffter, whose raids dedicated to Verdi are rather scarce. Just remember another direction of an opera by Verdi apart from the Don Carlo a couple of years ago. His reading was not exceptional, but it has moved in ways of correction. His address seemed many times more sensitive than dramatic, what did that at times it seamed a bit flat, with a tendency to slow down time on more than one occasion. He has taken well care of singers and the overall result is positive. What seems more reprehensible in reading has been cutting the «cabalettas» repeats, in addition to pull trodden paths in the version of of the Duca and Gilda duet. The provision of the Real Orquesta Sinfónica of Sevilla, as well as the choir of the A. A. theatre of the Maestranza.
Rigoletto was Huelva baritone Juan Jesús Rodríguez, who repeated his good performance of a few months ago in Valencia, offering the best vocally of the evening. Rodriguez is, without doubt, the most important Verdian baritone of Spain today – including Carlos Álvarez and Placido Domingo – and returned to demonstrate his perfect vocal match the character of the Razorback Verdi. What brings in vocal terms does not correspond with the emotion that pass through it, because its interpretation is quite monotonous and superficial, prioritizing decibels above the nuances. In any case, is always appreciated to hear a voice like it in this character.
Mariola Cantarero offered us a delicate interpretation of Gilda. This soprano has a voice who don’t like equally to everyone, but we must recognize a technical remarkable capacity. On this occasion her vocal performance has been better of what could be expected after the last recent performances I remember of her. Takes the character to the ground where she is more comfortable, offering attractive middle voices and precious piani, which is where she moves more easily. It is not a Gilda’s flesh and blood, but rather artificial, but it’s the smarter thing on her part. When she launches into dramatic effects, as in the Vendetta or the second part of the Duet with Il Duca, the lack of control of its treble is clear.
Ismael Jordi performance was somewhat disappointing as Duca di Mantova. His voice is too light for the character, being vocally short gloss in the most anticipated moments of his performance. Sing with unquestionable taste, being better aria Parmi veder le lagrime. While both the cabaletta and la Donna è Mobile is short of what we might call insolence and brightness, so consubstantial to the character. I am afraid that in the Euskalduna things won’t be better. Practically at home, it wasn’t some tepid applause in the most expected moment of his performance. Perfectly suited to the part of Sparafucile Russian bass Dmitry Ulyanov, voice sound, dark and menacing, together with a remarkable diction.
María José Montiel was well on the character of Maddalena.
The secondary characters were covered in irregular way. Correct, Ana Otxoa in the part of Giovanna, somewhat tight Miguel Angel Arias as Monterone, while Manuel de Diego was a good Borsa. Both Fernando Latorre in Marullo as Damián del Castillo in Count Ceprano did their job.
The theatre was almost full. The public was very warm with the artists. To open scene the biggest ovations were for Caro Nome and Cortigiani. In the final greetings was Juan Jesús Rodríguez and Mariola Cantarero.
The representation began 6 minutes late and had a total time of 2 hours and 50 minutes, including 2 intermediates. The musical duration was 2 hours and 2 minutes. The final applause lasted 7 minutes. The price of the most expensive ticket was 105 euros. In the upper floors prices ranged between 65 and 90 euros. The cheapest ticket costed 43 euros.
José M. Irurzun
Traducción al inglés: María García-Rosado
