terça-feira, 27 de janeiro de 2015

LOS DIAMANTES DE LA CORONA de F. Barbieri — Teatro Nacional de São Carlos, 25.01.2015

(Text in English below)


Los Diamantes de la Corona é uma zarzuela em três actos de Francisco Asenjo Barbieri (1823-1894) estreada em Madrid em 1854. Baseia-se no libreto dFrancisco Camprodón que, por sua vez, se inspirou no libreto de Eugène Scribe e Jules-Henri Vernoy de Saint-Georges para a ópera cómica homónima de Daniel-François Esprit Auber.

Está em cena no Teatro Nacional de São Carlos até ao dia 29 de Janeiro e tive oportunidade de assistir à récita de Domingo, dia 25 de Janeiro.

Trata-se de uma zarzuela cujo enredo se passa no século XVIII em Portugal e que trata das peripécias de uma senhora — Catalina — que é líder de um grupo de bandidos, mas que é, afinal, a futura rainha de Portugal. Poderão ler uma sinopse aqui. Não poderei dizer que é muito interessante: é uma comédia despretensiosa, mas pouco elaborada e muito óbvia.

(foto internet - I acto)

A música de Barbieri acompanha alguns elementos musicais que são intercalados pela interpretação teatral falada das personagens. Poderei dizer que tem elementos interessantes, de evidente inspiração italiana e (ainda) pouca influência espanhola. E tem bons elementos para coro. Creio que a qualidade é boa no primeiro e segundo actos, mas que destoa no terceiro onde se torna, a meu ver, mais monótona e precipitada. Ainda assim, é agradável de ouvir e permite passar quase três horas entretido.

(foto internet - II acto)

A encenação é de José Carlos Plaza e trata-se da produção espanhola para o Teatro de la Zarzuela de Madrid. É uma encenação de época, clássica, simples e muito eficaz que faz boa figura e permite o bom desenrolar da acção. Começa numa caverna, depois passa para o palácio de Campomayor e, finalmente, para o palácio da Corte. Tudo de forma natural e interessante.

(foto internet - III acto)

O guarda-roupa é rico, a direcção de actores eficaz e as luzes sóbrias.

A direcção da Orquestra Sinfónica Portuguesa foi de Rui Pinheiro que nos trouxe uma interpretação regular e que acompanhou, de forma sóbria, os cantores.


O Coro do Teatro Nacional de São Carlos esteve em bom plano, oferecendo uma interpretação segura.

A Catalina de Sonia de Munck (soprano) apresentou-se em bom plano: boa interpretação cénica aliada a uma voz agradável e bem projetada.

O Marquês de Sandoval de Carlos Cosías (tenor) foi, na minha opinião, a melhor interpretação da tarde. Tem uma presença em palco excelente, apresentando uma postura de enorme comicidade, a que aliou uma voz de timbre muito agradável com boa técnica, bom volume, projecção fácil e agudos sem esforço.

O Rebolledo de Francisco Santiago (barítono) esteve em bom plano cénico e vocal, bem como a Diana de Cristina Faus que tem uma voz de mezzo-soprano interessante. Também o Conde de Campomayor de Ricardo Muñiz (barítono) teve uma boa prestação, tal como o Don Sebastián de Gerado Bullon (tenor).


No geral assistiu-se a uma zarzuela sem um interesse por aí além, mas que se apresentou com uma encenação interessante e eficaz e um conjunto de intérpretes que, sem tocar a excelência, se apresentaram com qualidade homogénea e confiança.

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(Text in English)

Los Diamantes de la Corona is a zarzuela in three acts by Francisco Asenjo Barbieri (1823-1894) premiered in Madrid in 1854. It is based on Francisco Camprodón that, in turn, was inspired by the libretto by Eugène Scribe and Jules-Henri Vernoy de Saint-Georges for the homonymous comic opera by Daniel-François Esprit Auber.

It is on stage at the National Theater of Sao Carlos until the 29th of January and I was able to attend the recitation of Sunday, January 25.

This is a zarzuela whose plot takes place in the eighteenth century in Portugal, concerning the adventures of a lady - Catalina - which is a leader of a group of bandits, but she is, after all, the future Queen of Portugal. You can read a synopsis here. I can not say it's very interesting: it is an unpretentious comedy, but little developed and very obvious.

The Barbieri music accompanies some musical elements that are interspersed by the spoken theatrical interpretation of the characters. I can say it has interesting elements, of course Italian-inspired (yet little Spanish influence). And it has good elements to the choir. I think the quality is good in the first and second acts, but that clashes in the third where it is, in my view, more dull and hasty. Still, it's nice to hear, you can spend almost three hours entertained.

The staging by José Carlos Plaza and it is the Spanish production for the Teatro de la Zarzuela in Madrid. It is a classic scenario classic, simple and very effective doing good figure and allows the proper conduct of the action. Begins in a cave, then proceeds to the palace of Campomayor and finally to the palace of the Court. Everything in a natural and interesting way. The wardrobe is rich, the direction of actors  effective and the lights are sober .

The direction of the Portuguese Symphony Orchestra was by Rui Pinheiro who brought us a regular interpretation that followed, soberly, the singers.

The São Carlos National Theatre Choir was in good plan, offering a reliable interpretation.

The Catalina of Sonia de Munck (soprano) was performed in good plan: good scenic interpretation combined with a pleasant and well designed voice.

The Marquis of Sandoval of Carlos Cosías (tenor) was, in my opinion, the best interpretation of the afternoon. He has an excellent  stage presence , presenting a huge comic posture, which he combined a very pleasant timbre of voice with good technique, good volume, easy projection and effortless highs .

The Rebolledo of Francisco Santiago (baritone) was in good scenic and vocal plan and Diana by Cristina Faus has an interesting voice of  mezzo-soprano. Also Count Campomayor by Ricardo Muñiz (baritone) had a good performance, such as Don Sebastián by Gerardo Bullon (tenor).

Overall, it was a  not so interesting zarzuela, but that was presented with an interesting and effective staging and with a set of interpreters that, despite not reaching excellency, presented a homogeneous quality.

segunda-feira, 19 de janeiro de 2015

DIE ZAUBERFLOTE / A FLAUTA MÁGICA METropolitan Opera, Outubro de 2014 / October 2014



(review in english below)

A Flauta Mágica de W A Mozart esteve em cena no início da presente temporada na METropolitan Opera de Nova Iorque.

A encenação de Julie Taymor é de grande impacto visual. Está recheada de símbolos maçónicos e não inclui elementos egípcios, como muitas vezes se vê. Mas há uma enorme diversidade de criaturas fantásticas ao longo do espectáculo. As três Damas ao serviço da Rainha da Noite aparecem cada uma com uma grande máscara na mão, o que permite um efeito espectacular sempre que estão em cena. O Papageno (e a Papagena) surge vestido convencionalmente, como apanhador de pássaros. O Tamino e a Pamina também aparecem em trajos vistosos mas os mais espectaculares são o Sarastro, a Rainha da Noite e o Monostatos, como poderão ver nas fotografias. Os cenários mudam frequentemente, são eficazes e o ambiente místico mantém-se em toda a ópera.





Dirigiu a excelente Orquestra do Met o maestro húngaro Adam Fischer. O Coro foi também impressionante.

Toby Spence, tenor inglês, foi um Tamino de grande qualidade vocal, sempre bem audível e afinado. A personagem estava excessivamente estilizada, o que não beneficiou a actuação cénica.


Também óptimo vocalmente e muito bem em cena esteve o Papageno do barítono austríaco Markus Werba. A voz não é muito grande mas fez-se sempre ouvir e foi muito expressivo na interpretação.


O baixo René Pape impôs-se como Sarastro, a melhor interpretação masculina. Voz grande, grave, afinada e intensa, melhor será difícil.


Nas solistas a Pamina do soprano Sul Africano Pretty Yende foi excelente. Tem uma voz lindíssima, muito melodiosa, clara e com um timbre muito agradável. E teve uma excelente presença em palco.


Já o soprano macedónio Ana Durlovski não foi uma Rainha da Noite marcante. A coloratura não foi perfeita e a intensidade vocal foi inconstante. Mas, no geral, cumpriu, sem deslumbrar.


Dos restantes cantores merecem destaque, pelas óptimas interpretações, a Papagena de Ashley Emerson, as três Damas, Amy Shoremount-Obra, Renée Tatum e Margaret Lattimore e, sobretudo, a espectacular interpretação, vocal e cénica, de Mark Schowalter como Monostatos.








*****


Die Zauberflöte / The Magic Flute Metropolitan Opera, October 2014


The Magic Flute by WA Mozart was onstage at the beginning of this season at the Metropolitan Opera in New York.

The staging by Julie Taymor is fantastic and of great visual impact. It is full of masonic symbols and does not include egyptian elements, as is often seen. But there is a huge range of fantastic creatures throughout the opera. The three ladies in the service of the Queen of the Night appear each with a large mask in hand, which allows for a spectacular effect whenever they are on the stage. Papageno (and Papagena) dress conventionally as bird catchers. Tamino and Pamina also appear in showy costumes but the most spectacular are Sarastro, the Queen of the Night and Monostados, as you can see in the photographs. The scenarios change frequently, are effective, and the mystical ambience is kept throughout the opera.

Directed the great Met Orchestra Hungarian conductor Adam Fischer. The Choir was also impressive.

Toby Spence, English tenor, was a Tamino with great vocal quality, always audible and well tuned. The character was overly stylized, which did not benefit the stage action.

Also great vocally and very well onstage was Papageno by Austrian baritone Markus Werba. The voice is not very big but could always be heard and he had a very expressive interpretation.

Bass René Pape as Sarastro imposed as the best male performance. Fabulous low register always in tune, great voice. Better would be difficult.

South African soprano Pretty Yende was an excellent Pamina. She has a very melodious, clear voice, with a very nice beautiful timbre. And had a great stage presence.

Macedonian soprano Ana Durlovski was not a remarkable Queen of Night. The coloratura was not perfect and vocal intensity was not constant. But, in general, she was ok.

Of the remaining singers are noteworthy, the very good performances of Ashley Emerson as Papagena, the three ladies, Amy Shoremount Manpower, Renée Tatum and Margaret Lattimore, and above all, the spectacular interpretation, vocal and on stage of Mark Schowalter as Monostatos.


*****

sábado, 10 de janeiro de 2015

Magdalena Anna Hofmann – soprano



 O excelente soprano Magdalena Anna Hofmann vai cantar em Portugal, no próximo dia 17 de Janeiro, na Casa da Música, Porto, as cenas finais de duas operas do Anel de Wagner, Siegfried e Götterdämmerung. A não perder!

Também a não perder a entrevista exclusiva que a artista deu ao blogue “Fanáticos da Ópera / Opera Fanatics”.

Obrigado Magdalena Hofmann!

The great soprano Magdalena Anna Hofmann will sing in Portugal, on the 17th January at Casa da Música, Porto, the final scenes of two operas of Wagner's Ring, Siegfried and Götterdämmerung. Not to be missed!

Also do not miss the exclusive interview that the artist gave to the blog "Fanaticos da Ópera / Opera Fanatics".

Thank you Magdalena Hofmann!




- On 17th of January you will be singing the final scenes of Siegfried and Götterdämmerung in a concert in Casa da Música in Porto. Will this be your debut in Portugal? Do you have any further plans to sing in this country?

Well I sang in Porto already last year under the baton of Baldur Brönnimann and enjoyed this fabulous orchestra and Casa da Musica very much. That`s why I`m truly happy to be able to come back, this time with a different program and the Remix Ensemble! I am also quite exited about another concert I will sing in Casa da Musica next season, again with Maestro Brönnimann. It is a huge honour to be invited several times and I`m really looking forward to it!





- Is the closeness to the public different during a concert performance and an opera? Which is the most challenging?

It is indeed different! In a way it seems much easier to perform an opera, as within 3 or 4 hours you have a whole character to develop, supported by the costume, the set design, etc. This really helps you to step away from your own self and embody a specific role. It`s very hard sometimes but also great fun! Whereas a concert is always a more personal matter. You appear on stage and you instantly have to get into the right mood for a piece. In this situation it is always me, Magdalena, telling a story whereas in an opera it is told by the character I portray… Then again, in a concert there is that constant contact with the audience, so one can sense the atmosphere and react to it. Actually it took me some time to get used to concerts and enjoy the spirit of the moment.


 (Le Nozze di Figaro)

- You have already sung, with great success, several other Wagnerian heroines (including Kundry, Elisabeth, Venus, Sieglinde and Senta). Which opera character do you most admire in Wagner’s operas and which would you still like to sing?

That`s a tricky question as we know how complex Wagnerian heroines are! It`s always a challenge to find all those different layers in the characters like strength, vulnerability, sacrifice, determination. Perhaps I`d say that Kundry would be my favorite role so far and before I even start thinking of singing Isolde I`d rather do some more productions with roles I have already sung, to develop them and find new twists.


 (Mathis der Mahler)

- How did Wagner enter your life?

Hahaha, when I was 22 years old my voice teacher suggested that I should study Fricka in Walküre. Of course it was way too early for this kind of repertoire but without really being aware of what I was doing I enjoyed it a lot and immediately found my own interpretation. Which may have been a good sign I guess...



 (Der Fliegende Holländer)

- Who are the people that have had the most influence in your singing career?

I am lucky to have several important people in my life whom I trust and who guide me and are honest enough to tell me when something isn’t the way it should be. It`s always important to hear different opinions and get new input, but also trust someone who knows you for many years, like my wonderful voice teacher Carol Blaickner-Mayo in Vienna!


  (Der Fliegende Holländer) 

- What are your professional plans for the future?

 My goal is to keep a good balance between more lyrical repertoire and the dramatic roles, and of course contemporary music to keep my voice and mind flexible. Currently I`m preparing for Opéra de Lyon Carlotta in DIE GEZEICHNETEN, a brilliant opera by Franz Schreker, rarely done but such wonderful music! Further plans bring with Schönberg`s Erwartung one of my all time favourite roles, the Foreign Princess in Rusalka and two different productions of The Flying Dutchman.


  (Der Fliegende Holländer) 

- Do you have a particular message for the readers of the blog “Fanáticos da Ópera / Opera Fanatics”?


Well, nowadays people are used to recordings, perfectly done through endless repetitions and therefore flawless. As a result singers often are being judged too hard and people neglect the sensation of that person being live on stage, singing for them, authentically. Don’t stop attending concerts and live performances because in those very moments the singers try to give their best, and give it from their hearts!

quinta-feira, 1 de janeiro de 2015

Top 10 do Fanáticos da Ópera / Top 10 of the Opera Fanatics

O blogue Fanáticos da Ópera completou, em 19 de Novembro passado, 5 anos de existência. Pela primeira vez referimos as 10 mensagens mais vistas, todas com mais de 1500 visualizações.
Seguramente que o interesse de cada uma delas influenciou a escolha, embora a antiguidade das mensagens também terá sido importante (penso eu).
Um excelente ano de 2015 para todos, com boas operas e bons concertos!

Aqui segue a lista / Here is the list: