Past Production Reviews
1The version offered was clearly very satisfactory and its main strengths were the visuals, the solid preparation and the choice of the cast. Marcelo Perusso in his multiple duties as stage director, set designer and costume designer, served with excellence the work of which he is a librettist. The acting movement was coherent and precise. The timeless setting with stone columns and the clever use of the revolving stage served perfectly to frame each of the scenes. The wardrobe is beautiful and the lighting by Rubén Conde is plastically perfect. The choreographic movements of Guillermina Tarsi are adequate. The vocal cast was well-rounded, solid, homogeneous and with perfect diction and preparation. Alejandra Malvino was a Fedra of vocal excellence and expressive intensity. At his side, Daniela Tabernig's Aricia shone, offering the most lyrical moments of the work at the beginning of the second act. He effectively accompanied the tenor Marcelo Puente in the complex role of Hipólito. While sober and effective was Leonardo Estévez as Theseus. Haydée Dabusti overcame the nurse's complicated handwriting with vocal integrity and with careful correction created the minor roles Florencia Machado (Selene), Alicia Alduncín (Hécate) and Gustavo Feulien (Theramens). On the podium the composer himself conducted with sobriety, clarity and precision. The balance between the pit and the stage was perfect and at no time was the voices covered up in a work of abundant percussion and enormous timbral richness. Very good was the response from the Stable Orchestra.
