(imagens da transmissão da Bayerische Staatsoper / Images from the broadcast by Bayerische Staatsoper)
A Bayerische
Staatsoper ofereceu-nos no dia 19 de Maio a possibilidade de assistir em
directo, no seu site, à
récita de I Capuleti e i Montecchi,
de V. Bellini. Tive oportunidade de
assistir ao vivo a esta produção em Munique, como referi aqui. A ópera, de
fazer chorar as pedras da calçada, é um pitéu para os apreciadores do belcanto, entre os quais me incluo. Para
desfrutar plenamente da música, devemos esquecer tudo o resto (Romeu cantado
por uma mulher, encenações bizarras, etc.).
Como já referi, não gosto desta produção. É excessivamente
austera e o marketing à sua volta, nomeadamente na entrega do guarda-roupa a um
costureiro da moda (Christian Lacroix), não traz nenhuma mais valia. Mas o que
mais condeno é a opção por colocar os cantores em posições extremamente
incómodas e desajustadas, nomeadamente Giulietta que tem que cantar empoleirada
num lavatório ou em equilíbrio instável numa estrutura arredondada no palco.
Yves Abel dirigiu
a orquestra da Bayerische Staatsoper numa interpretação que não foi perfeita.
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Capello foi interpretado pelo baixo croata Ante Jerkunica. Apesar de o papel ser
curto, o cantor teve oportunidade de nos mostrar que possui uma das mais belas
vozes de baixo actualmente no activo dos teatros de ópera.
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O tenor greco-americano Dimitri
Pittas foi um Tebaldo de grande qualidade. A voz tem um timbre agradável e
o cantor projecta-a bem.
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Vesselina Kasarova, mezzo búlgaro, cantou o Romeu. Foi uma
das grandes da noite. A voz é bonita, o timbre escuro, mas com agudos fáceis,
fortes e sem perda de qualidade.
Guilietta foi interpretada pelo soprano russo Anna Netrebko, que já tive o privilégio
de ver interpretar este papel ao vivo, em Londres. Era a grande atracção da noite e não
deixou os seus créditos por mãos alheias. Foi mais uma fabulosa interpretação
da artista que está a cantar melhor que nunca. O poderio vocal é absoluto, a
potência avassaladora, a beleza tímbrica única e a interpretação insuperável. A
Netrebko não tem rival na actualidade e sempre que temos possibilidade de a
ouvir, o canto assume uma grandiosidade só proporcionada por muito poucos.
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I Capuleti
e i Montecchi, Bayerische Staatsoper, May 2012
The Bayerische Staatsoper offered us the opportunity (on May 19th) to watch live the performance of I Capuleti e i Mintecchi, by V. Bellini. Previously, I watched live this production inMunich
The Bayerische Staatsoper offered us the opportunity (on May 19th) to watch live the performance of I Capuleti e i Mintecchi, by V. Bellini. Previously, I watched live this production in
As I
mentioned, I do not like this production. It is too austere and the marketing
around it, including the clothes by a fashion stylist (Christian Lacroix),
bring no added value. But what I most condemn is the option to put the singers
in positions extremely uncomfortable and inadequate, particularly Giulietta who
has to sing perched in a sink or on a rounded structure on stage.
Yves Abel conducted the orchestra of the Bayerische
Staatsoper in an interpretation that was not perfect.
Paul Gay, French bass-baritone, played well the role of Lorenzo. He has no feature that distinguishes his interpretation from the generality of the current good baritones.
Capello was played by Croatian bass Ante Jerkunica. Although the interpretation was short, the singer had the opportunity to show us that he has one of the most beautiful bass voices currently singing in opera houses.
Greek-American tenor Dimitri Pittas was a high quality Tebaldo. The voice has a pleasant timbre and the singer uses it well.
Vesselina Kasarova, Bulgarian mezzo, played Romeo. She was one of the great singers of night. The voice is beautiful, dark, but top notes are easy, highly audible without loss of quality.
Guilietta was sung by Russian soprano Anna Netrebko. I’ve had the privilege of seeing her live in this role in London. She was the great attraction of the night and she confirmed everybody’s high expectations. It was another fabulous interpretation of the artist who is singing better than ever. Her vocal overwhelming power is absolute, the beauty of the timbre is unique, and the interpretation is unsurpassed. Netrebko has no rival at her level in present days and whenever we have the chance to hear her, singing takes on a grandeur only offered by very few artists.
Paul Gay, French bass-baritone, played well the role of Lorenzo. He has no feature that distinguishes his interpretation from the generality of the current good baritones.
Capello was played by Croatian bass Ante Jerkunica. Although the interpretation was short, the singer had the opportunity to show us that he has one of the most beautiful bass voices currently singing in opera houses.
Greek-American tenor Dimitri Pittas was a high quality Tebaldo. The voice has a pleasant timbre and the singer uses it well.
Vesselina Kasarova, Bulgarian mezzo, played Romeo. She was one of the great singers of night. The voice is beautiful, dark, but top notes are easy, highly audible without loss of quality.
Guilietta was sung by Russian soprano Anna Netrebko. I’ve had the privilege of seeing her live in this role in London. She was the great attraction of the night and she confirmed everybody’s high expectations. It was another fabulous interpretation of the artist who is singing better than ever. Her vocal overwhelming power is absolute, the beauty of the timbre is unique, and the interpretation is unsurpassed. Netrebko has no rival at her level in present days and whenever we have the chance to hear her, singing takes on a grandeur only offered by very few artists.
Thank you Bayerische Staatsoper!
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