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. ...Full review