Critiques de productions passés
9“Oliver Diaz al frente de la ORCAM presumió de colores y de gestión de balances, algo fundamental en la música de Sorozábal.”
“En el foso del Teatro de la Zarzuela se encontraba un músico de la talla de Óliver Díaz, que fue capaz de firmar una magnífica labor (…) En el acto segundo, impecable fue el acompañamiento a la sucesión de romanzas, así como la progresión dramática de toda la parte final”
With music and lyrics by Manuel Penella (1880-1939), and under the watchful eye of stage director Jorge Torres, this star-studded production of The Wildcat is packed with all you’d expect in a quintessential Spanish tale including a passionate love triangle, a bullfighter, flamenco dancers, a mountain bandit, and, of course, a beautiful woman at the root of it all. Known as a zarzuela (a Spanish opera), it still shows clear influences of Italian, French, and Viennese operas.
Emilio Gutiérrez Caba, belonging to a glorious line of actors and who made the introductions to each act at the height of what can be expected from this actor with a long and glittering career. Maite Beaumont's timbre , clear and sopranil in color, as well as just flow, lacks any particular appeal and rich timbre, but the singer is elegant and musical with a phrasing that is more careful than contrasted. Likewise, the Navarrese singer rightly dodged the agility of bel canto fliación required in many moments on her part, especially in her solo "I'm not a favorite." For her part, Nancy Fabiola Herrera, with a darker color and greater definition of mezzo, it wore well turned phrasing with the usual musical background. One of the great moments of the opera is the great duet between the two mezzo in the second act "I have to talk to you" that seals the break between Farinelli and Beatriz. The timbre of the young Mexican tenor Leonardo Sánchez is attractive, as can be seen in his beautiful romanza of act one sung with the appropriate lyrical effusion and youthful outburst, although apart from the improvement in the technical aspect it is wide and proof of this were those tensions in his promotions to the sharp fringe. The role of Jorge, Farinelli's father, a character who starts out strongly, gradually fades to regain prominence at the end of the play, was played by the Brazilian baritone Rodrigo Esteves - whom I saw another 22 years ago star in the same venue. of the operas of Breton, The Lovers of Teruel - with its genuinely lyrical timbre, but sonorous and well projected, as well as incisive accents.
“Con un instrumento atractivo, cumplidor, actor eficaz y excelente configuración del papel, en consonancia con una campesina, la futura reina, Sofía Esparza, bella soprano de Pamplona, atractiva presencia escénica y voz dotada. Esparza tiene aún toda una carrera por delante, a pesar de haber hace ya años iniciado estudios de arpa, canto y pedagogía y seguido clases con Alberto Zedda, Mariella Devia y recibido más de una docena de premios. Este año abrió con L´elisir d'amore la temporada del Comunale de Bologna y es la primera vez que actúa en esta histórica sala.”
Por su parte, la Rosa de Sofía Esparza... fue perfecta. Es que no creo que pudiera pedirle más. Una vis dramática irreprochable, detalladísima, muy trabajada, junto a un timbre luminoso, claro, de atractivo vibrato y desenvuelto agudo. Una voz que corre desenvuelta por toda la sala.
Armand Arapian (Don Pizarro) est un baryton puissant, qui réussit parfaitement à faire passer le cynisme et la noirceur de son personnage dans sa voix.
