A ballo in maschera on the Palau de les Arts, the pit in opposition to the scene | EUROtoday

He Palace of the Arts Valencian presents the penultimate opera of his season with the work of Verdi which mixes the writer's important theme (the indissoluble trio between tenor, soprano and baritone of their struggle for love and energy) with the presence of two figures who, of their peculiarity, don’t seem wherever else: the sorceress Ulricacontralto or mezzo-soprano, y the web page Oscar, gentle soprano; Both figures intervene within the motion as in the event that they have been commenting on it or desirous to affect some adventures and an final result that’s finally resolved in accordance with the canon that decrees the failure of the romantic hero embodied by the tenor.

What was seen and heard in Palace of the Arts It is summarized in a brand new case of dysfunction between the voices and the orchestra, on the one hand, and the stage set-up, on the opposite; a crack that, greater than frequent, is on its option to turning into endemic. The staging of the co-production between the Palau and the Berlin Staadstoper It is responsible of the 2 major sins that plague present productions; contempt for the story that’s advised because of the need to tear it out of its context, and destruction of sure characters by characterizing them in opposition to their dramatic significance.

Here It shouldn’t be identified the place we’re or what every determine represents, an indeterminacy that produces an environment of disagreeable, disagreeable ghostly gloom, and blurs the magician Ulrica, turning her diabolical abilities into the whim of a younger woman wearing a swimsuit. More severe is the destruction of Oscar, a mischievous transvestite web page who stops being a web page and a transvestite, strolling round like a neurotic woman who can't fairly determine what costume to put on.

What occurs within the scene is an enigma that’s typically tough to decipher. If ultimately that’s understood kind of, it’s because of a vocal and orchestral efficiency of such resounding and achieved high quality, energy, generosity, precision and rapture that the qualifiers of supreme reward are on this case strict notes of an actual chronicle. The handle of Antonino Fogliani produces the identical impression of admiring shock as that produced by the forged. Francesco Meli (Riccardo), Anna Pirozzi (Amelia), Franco Vassallo (Renato), Marina Mozó (Oscar), Agniezska Rehlis (Ulrica), and the others kind a gaggle of overwhelming excellence.

The public, considerably bewildered by what they see, undoubtedly obtained with pleasure the wonders that reached their ears. An excellent operate in a single side that leaves the opposite in an odd scenario that maybe criticism, to the extent that it someway “represents” the general public, fails to elucidate. Those answerable for the mess, who’re each the stage administrators and the mayors of the theaters, stay put in in a contradiction, oblivious to Wagner's recommendation on “the total work of art.” Could it maybe be that the final decline that we’re experiencing in all areas additionally impacts opera? But solely in its scenic expression, since musicians, singers and composers are experiencing an ideal second in the present day.