Lucía Tavira / Recensioner

Cristian Díaz, en el personajes del Rey de Egipto, mostró voz de gran calidad, redonda y bien proyectada.

A huge work by the narrator, the soloists and the orchestra (also the choir, despite the fact that the distance and the mask prevent us from fully enjoying it) is presupposed when one is missing neither costumes nor decorations; and that the libretto, even if it is well written, does not have much in particular. Here there are the usual conflicts, marriageable girls, recalcitrant masturbation, love affairs, heartbreak and, above all, a lot of humor. A pretext, we would say, to make unique and very varied music. Maestro Luna plays many styles, which reminds us of Falla as well as George Gershwin, and takes us from habaneras to cancán, passing through fandango and waltz. The Orchestra of the Community of Madrid is masterful, skilfully commanded by a Guillermo García Calvo with a wide sound and efficient rhythm. The music asked for a stable pulse and a lively rhythm, and most of the time it was Javier Franco's turn to face the songs that were more rhythmically committed. The Galician baritone does not lack tables to come out of the challenge gracefully, and project a rigorous and credible character, even when they were seen with low registers that perhaps would have benefited from a slightly less exultant orchestral accompaniment. Lola Casariego played the widowed Marchioness with correction, and she was solvent and balanced in the interventions with Javier Franco. On the other side, the daughters of the Marquesa, Isabel and Cristina, played by Lucía Tavira and Miren Urbieta-Vega, along with their suitors and sycophants. The tenor Andeka Gorrotxategi caught our attention with his power and self-confidence., who boldly interpreted the rascal Carlos Alberto, undoubtedly a voice without fissures to deal with the power exerted by the orchestra.