A Night at the Opera

This title closed the XL Opera season in Mahón, with the return to our Theater of one of the great and most popular works of Verdi.

Despite the "contempt" in part of the new generations of music lovers, made these types of works, calling them "popular" or "classic", the only thing that made this new piece clear again is that, on the one hand, these titles fill theaters and on the other hand which are not as easy to assemble and sing as is presumed, but also the opposite, in an era (as I have already pointed out in other posts in this blog) in which the crisis of voices is evident (much more if from Verdian voices it is a feat and a "daring" to present these titles.

It is difficult for fans like me to go to the theater to see this Opera and to be able to "forget" or "to smear in the memory" of the historical Lauri-Volpi, Corelli, Bergonzi or Bonisolli, the Conte di Luna of Bastianini or Cappuccilli, the Leonoras of Callas, Stella and the Lilies of Simionatos, Cossotto.etc. That is why it is easy to fall into discouragement or disillusionment when the function ends, but it is precisely when a few days pass when you most value what you have seen, and still praise what was sung a few decades ago.

As I have already mentioned Il Trovatore is demanding to the maximum with each of the characters in the vocal aspect and also with the musicians, it has a strength and a vividness to which Verdi has accustomed us, but in the case that occupies us , if possible, one degree above. The argument is one of the most "unlikely" of the Master's Operas, but this lack of "coherence" or "credibility" is supplanted and forgotten by the strength of the music and the characters. it could be said that it is the "tenor of strength" par excellence, it needs a powerful voice but in turn modeled and with impeccable singing line. Fraccaro, from his first intervention from the intern, "Desserto sulla terra", showed that his voice was powerful, and already in the third round that closes the first act, as during the second in the duos with the Mezzo, he won with courage. When the second scene of the Third Act arrives, which in this case is the touchstone that Verdi put in most works in tenor, the precious "Oh si ben mio ..." followed by the famous cabaletta "Di quella pira" Fraccaro I pass by the ary in a somewhat accelerated way and without qualifying or "singing" all the details of it, when I arrived at the cabaletta, I attacked it with force and crowned it with the sharp end (not the Do, but descent of tone). In the second frame of the last act, he was brave and brilliant in his duets, with Mezzo and Soprano. Leonora, in this case Di Giacomo, achieved a very complete interpretation, getting into the character in love and tortured (emotionally), she was splendid in her arias.

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and in the last act (which is complete its presence) at a very high level. The people in the two functions rewarded it with strong ovations and salvos of cheers.

Azucena, incarnated by the mezzo, Mishura, is a dramatic character ... tormented, the thread of all this work of misfortune, in the second act ... I unleash all his vocal and stage potential, achieving a very convincing performance, in the fourth act, hard and dramatic again. Great sensations, I suppose that in a few years when his serious part is enlarged you can embroider this role, as few have done.

Ferrando, the great bass Palatchi, was splendid, it is a luxury to have a voice like yours to a role so short, but at the same time demanding, at the beginning of the work showed his aplomb and technique. Bravo Stefano!

Special mention, for the contributions of Maria Camps, Kostiantyn Andreiev, Ricardo Bosch and Quim Alzina. They were successful in their short interventions, special pride by three of them who are from the island. What words to say about the choir, amateur, who works for months to be able to face these two evenings (sometimes three), and that devotes hours and hours so that a result of the highest quality can be obtained. This work is difficult, it is well known the difficulty of Verdi with the choirs, and they surpassed it to a great level, in all the interventions. Congratulations.

Master Rizzi Brignoli achieved that part of the Symphony Orchestra that came (it is known that by dimensions of our pit the whole orchestra does not fit) will sound in a forceful and harmonious way, taking all the strength that the score requires. An affectionate Bravo! for the Master and for the whole Orchestra.

The stage set, by the Amics de l'Òpera de Sabadell, classic and correct, taking advantage of our stage space.

In general two evenings , complete, even with some buts in the vocal aspects of some of the main characters, but as I said at the beginning, it is almost impossible today that these works are complete.