![]() The theatrical direction of the singers, theoretically inspired in the Italian cinematographic comedy from the mid-20th century (Sordi, Gassman, Mastroianni, etc.) is erratic. It turns the characters into a pile of amoral egoists without bringing a new interpretation to the work. Without being of wrong or betraying the original idea of the piece, Pelly’s proposal puts an emphasis on the most cruel and sordid aspects of the plot, which shortly stop being funny. However, this Don Pasquale, is not his best work and will pass through time without leaving trace in the memory. Pelly tends to work well in the comical register, his beautiful Cendrillon and his ideal Contes d’Hoffmann which the Liceu saw in past seasons give him credit in this sense. The subsequent comical operas correspond to a new model with a different structure that doesn’t match with the tradition of opera buffa.ĭon Pasqualecame back in a new staging signed by Laurent Pelly, a joint production of the Liceu and the Santa Fe and San Francisco opera theatres which was premiered last summer at Santa Fe. ![]() On this occasion, in some cases, maybe not enough mastering was displayed.Īfter almost 30 years without featuring in this theatre (last performances date from 1986) returned to the Liceu Don Pasquale, last Donizzetti’s opera buffa and probably the last opera buffaat all. Barcelona, 16th June.ĭon Pasquale isn’t maybe a master piece, but it’s a beautiful work with great mastering in the composition that requires also great mastering and experience in its interpreters’ part. Joint production of Gran Teatre del Liceu, The Santa Fe Opera and San Francisco Opera. Orquestra Simfònica of Gran Teatre del Liceu. Valentina Naforniţa, soprano, Juan Francisco Gatell, tenor.
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