The Liceu closes the opera season with a reliable 'Adriana Lecouvreur' | News from Catalonia | EUROtoday

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A lavish costume, wigs, crinolines, candelabras, a fragile ballet and a bouquet of fabulous voices led by soprano Aleksandra Kurzak and tenor Freddie De Tomasso, who will take turns with Robert Alagna within the main roles. The Lyceum closes the season this Sunday with a dependable Adriana Lecouvreur and a visit again in time to the 18th century in its entirety. With a chic manufacturing signed by the Scottish David McViautomobile and changed by Justin Way, the Liceu has opted to revive this manufacturing, which it already programmed in 2012. The opera by the Italian composer Francesco Cilèa, premiered in 1902, will probably be on show from this Sunday till on June 29 in seven performances.

Something like this doesn't often occur, however the Liceu has needed to navigate a mountain of shocks and losses within the solid initially deliberate for this opera with stunning arias and stuffed with chic music. From the preliminary quartet, first Jonas Kaufmann emerged, then Sonya Yoncheva after which Anita Rachvelishvili; solely Ambrogio Maestri stays, who dazzled with the position of Gianni Schicchi of The triptych Last season. “We have suffered certain vicissitudes,” admitted common director Victor García de Gomar. There have been many: Kaufmann stood out by betting on one other dedication in Vienna – “We are very sorry,” he stated -; In the tip, Yoncheva couldn’t mix singing Adriana in Barcelona and Norma in Munich; Rachvelishvili has interrupted her profession for well being causes and Eleonora Buratto, from the second solid, additionally canceled her presence. “The important thing was to do Adriana with interesting, beloved voices and we welcome them,” stated García de Gomar. Aleksandra Kurzak debuts within the position of Adriana.

The curtain rises and a bust of Molière seems and life behind the scenes of the Comédie Française firm wherein the actress Adriana Lecouvreur, that seems on her dressing desk, is the queen indubitably. Produced by the Lyceum and different nice theaters – the Royal Opera House, the Paris Opera, the Vienna Opera and the San Francisco Opera -, the scenography is beneficiant and doesn’t compromise on palaces, staircases and in representing a scrumptious theater throughout the theater. The opera narrates the lifetime of the aforementioned actress, lover of a nobleman and died beneath unusual circumstances. The libretto fuels the legend that she was the sufferer of the jealousy of a princess who despatched her a bouquet of poisoned flowers. The ending matches the tragic ending of the good girls of opera. and succeed with Adriana Lecouvreur It is, they are saying on the Liceu, the assure of acquiring the diva certificates.

Freddie De Tommaso and Aleksandra Kurzak, at one point in the play.
Freddie De Tommaso and Aleksandra Kurzak, at one level within the play.SERGIO PANIZO (High faculty)

“After i had done Madame Butterfly y Tosca, I am very excited to do this opera. I am grateful for the opportunity they give me. Knock on wood: four performances in five days is a lot,” says Kurzak, who has embarked on the project even though he will have to combine it with the Madame who will sing at the Teatro Real in Madrid. The English tenor De Tomasso returns to the Liceu for the third time this season after having performed in Carmen and in A masked ball. “I always come back with great joy. I love this theater and this city very much: I came here for the Tenor Viñas competition as a student from London and I returned as a professional. I love the production: it is very faithful to the script.”

The orchestra director, Patrick Summers, claimed that this production also has a special interest for being a “historical and emotional testimony” of a specific era, “And that is one of the keys to its success,” he added. “It is faithful to what is written. “She doesn't invent issues and that doesn't imply she's old school,” emphasizes Kurzak, Alagna's partner. “For me, opera is like a religion or a monument. You can't change everything,” emphasizes the French tenor.If I am an architect I cannot come and change the Sagrada Familia because it is from another era. “If you have the cards in your hand to make a beautiful show, you have to accept it and respect what the composer did.”

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The presence of the two singers reminded us that last year they refused to participate in the controversial Tosca that put on stage Rafael R. Villalobos, who imagined a relationship between the protagonist of Puccini's opera and Passolini. “I didn't know when I signed the contract that it was going to be like this. I respect the councilor but I couldn't express or feel Puccini there in that production. It was not for me. I couldn't sing And the stars shone and sing while caressing a blonde boy,” he said and joked, “I'm old. “I am 61 years old.” Kurzak also criticized the episode and confirmed that there was no problem with the theater: “Much ado about nothing.”

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