Luciano Miotto / Рецензии

The main ideas of the Chamber Opera are to reach the public in other areas and promote young artists. The key to the cast is their homogeneity, their youth and their scenic availability. In turn, the passage through various fields, not necessarily linked to opera, generates a welcome renewal of the public. For this version he or n of or pear Salieri, Diego Cosin in the stage direction raised a comic aesthetics were taxed, achieving a very good management of theatrical actions, a perfect characterization of the characters and an attractive visual result. Gastón Joubert's scenography with some vague tendency to Ancient Greece was perfect, while Natalio Ríos's projections gave the scenes a changing frame with intelligence and clarity. With the usual quality of Rubén Conde's lighting, while Isabel Guai's wardrobe was ingenious and adapted to the general aesthetic, a separate paragraph deserves the excellently made hairstyles. Martín Sotelo conducted the orchestral ensemble with a sure hand, with good results and adequate stylistic coherence. Of the vocal cast, the homogeneity stood out and if someone had to be highlighted it could be Victoria Gaeta (Dori) for her quality and musical security and her scenic ease. Trinidad Goyeneche (Ofelia) had a poised performance, Walter Schwarz gave authority to the father of the lovers (Aristone), Luciano Miotto was a powerful Trofonio, while Josué Miranda (Artemidoro) and Mariano Fernández Bustinza (Plistene) contributed well-timbred voices and of expressive saying to characterize the two lovers.