Past Production Reviews
4The recital began with three songs by the mythical Sevillian tenor, composer and pedagogue Manuel García, in which the panache and grace with which the Jerez tenor repelled "Caramba" from Caprichos lricos española and "Floris" on the composer's text stood out, as well as the way he tasted the beautiful “Parad, avecillas” on a text by Meléndez Valdés belonging, like the previous one, to the Chansons espagnoles collection . Between the first and second pieces Jordi addressed the public to celebrate, as he deserves, that the Zarzuela theater. Another illustrious Andalusian, the magnificent Sevillian composer Joaquín Turina, appeared next with three pieces. Ismael Jordi highlighted the raciality, passionate accents and deep Andalusianism of the best Law of "Longings", as well as the intense religious devotion of the "Saeta in the form of Salve" on the Álvarez Quintero text, in addition to adequately reproducing the difficult coloratura, which evokes the folklore of cante "jondo", in "Cantares", number three of the Poem in the form of songs, Op. 19 on texts by Ramón de Campoamor. Rubén Fernández Aguirre was confident and always collaborating with the soloist throughout the night and his fine and elegant ways shone in his two solo piano pieces, especially in Francis Poulenc's fabulous Improvisation 15. Hommage à Édith Piaf. After offering this piece, Fernández Aguirre also addressed the public, particularly Daniel Bianco, artistic director of the Teatro de la Zarzuela, to thank him for rescheduling this recital and for continuing the Theater's activity despite the nightmare in the form of a pandemic. that we continue to live.
All this is represented in the context of a comic opera, but with the remarkable scenic success of not falling into vulgarity or ridiculousness. Quite the contrary: we therefore highlight the very successful scenography by Pablo Menor, which with a prudent set of mobile mirrors and a deep red framing results in the sensual, deceptive and sibylline character of the main events. The ostentation and luxury remain reflected in the magnificent wardrobe inspired by the 18th century fashions of Ikerne Giménez, all of them also masterfully set by means of the cozy lighting of David Picazo. It is always necessary to highlight the work of those who are behind the stage productions, but it is even more so in productions that do not necessarily stand out for the depth of the music that accompanies that scenography. In the musical, it is mandatory to highlight the immense work of Rubén Fernández Aguirre , who masterfully directed the performance from the piano and who proposed all the musical support without wavering so that the leading quartet could show off their virtues during the almost hour and a half that lasted the representation. We must also acknowledge his intelligent work of "editing" the score, which undoubtedly lightened the musical result by replacing the duplicate of the voice with harmonic elements. Let us highlight the baritone David Oller , who in addition to dealing with the pitfalls of this score gave us a lesson in rhythm and diction in his interpretation of the stuttering character. at the end, in the happy conjunction of all the characters and in the triumph of free love over jealousy, were the characters able to shed their burdens and emerge gracefully from their own traps.
"Para la ocasión, el Teatro de la Maestranza ha recurrido a un brillante conjunto de jóvenes cantantes españoles comandados por el pianista de Barakaldo Rubén Fernández Aguirre, buen conocedor de la música de García por ser asiduo intérprete de sus canciones [...] Junto a él un estupendo equipo formado por la malagueña Berna Perles (quien protagonizará un recital en el Maestranza en febrero), la mezzosoprano Marifé Nogales, los tenores Gustavo Peña y José Manuel Guinot y los barítonos David Menéndez y Borja Quiza. Un espléndido conjunto para el reencuentro feliz de Manuel García con su ciudad".
"Un elenco joven aunque experimentado, voces entusiastas y volcadas en una carrera que se augura solvente, puso en pie la función con sobrada competencia". "Esta es la segunda de sus óperas de cámara que se estrena en el Maestranza, esta vez gracias al Centro Superior de Investigación y Promoción de la Música de la Universidad Autónoma de Madrid y a la iniciativa del pianista vasco Rubén Fernández Aguirre [...] Con libreto de Giuseppe Maria Foppa, esta farsa giocosa inspirada en la comedia del arte ofrece generosas posibilidades para el lucimiento de la voz, con agilidades muy complejas y ornamentaciones con frecuencia casi imposibles, lo que la hace muy atractiva para intérpretes cultivados en el repertorio belcantista, a la vez que un reto considerable. Un elenco joven aunque experimentado, voces entusiastas y volcadas en una carrera que se augura solvente, puso en pie la función con sobrada competencia. Preferimos evaluar la labor de conjunto que cada uno y una de las voces por separado; un trabajo en equipo equilibrado y simpático en el que lucieron cada nota de la partitura, con timbres hermosos y sin estridencias, notable sentido del legato y la coloratura, un fraseo elegante y generosa exhibición de agilidades. Cabe destacar la finura de la soprano malagueña Berna Perles, la comicidad del bajo Borja Quiza, el brillo metálico del más familiar entre nosotros Gustavo Peña, la gracia de la mezzo Marifé Nogales y la compenetración de David Menéndez y José Manuel Guinot".
