Erika Escribá / Reseñas

The action is therefore planted on a bare stage and under harsh lights, with a backdrop dotted with black tubes or crimson spots (designed by the painter Frederic Amat), on which stand out the characters dressed in ageless allegorical outfits. in parsimonious gestures. The events which bring together the actors of the drama, the mythological one of Iphigénie confronted with avenging oracles, therefore remain confined to the metaphorical stature. Rather attractive! The musical side, it seems that the approach is of the same order. Since it uses the theater orchestra holds more customary repertoire of the XIX th and XX th centuries. On the contrary , other baroque productions in this house, such as the Durón diptych seen last season with García Alarcón's Cappella Mediterranea (2) or Viento es la dicha de Amor, by the same Nebra, performed in 2013 with the excellent Baroque Orchestra of Seville. In addition to the forty or so instrumentalists of a traditional “Mozart” formation, there is however a continuo, with cello and harpsichord, as well as natural winds, in a completely period style. A way of treating Nebra like a classic, like we treat Mozart. Why not? ... Especially that the lively direction of Francesc Prat knows how to find the carried accents which innervate a splendid score, whose brilliant exuberance returns to soloists who defend it without counting. The merits of María Bayo (photo) are no longer to be singled out, who plays the title role with the vocal authority that we know her. But Auxiliadora Toledano, Ruth González, Erika Escribá-Astaburuaga and Lidia Vinyes-Curtis, also experienced in baroque singing, give it a proud reply.