Teatro Lírico Nacional de la Zarzuela / Critiques

“Musicalmente destacó el excelente trabajo de Óliver Díaz, que consiguió que los músicos de la Orquesta de la Comunitat comulgasen con un lenguaje como el de Francis López que no les es natural sin perder toda su calidad tímbrica. En ningún momento excedieron las dinámicas ni taparon a las voces y no tuvieron que sacrificar ni un ápice de su brillantez para lograrlo.”

The production was a satisfactory enough mix of projections and furniture to show off the array of glitzy costumes and choreography, which were – with the music – what the show was all about. I loved every minute, and the sense of enthusiasm from both sides of the house combined to make for one of those blissfully kitsch hours which only zarzuela can provide. I must mention María Elena García’s mellifluously lissom contribution as soloist in the big numbers for the Argentine and Indian Girls, not least because (mystifyingly) the programme hadn’t found room for her biography. Let’s wish this sweet-toned, young soprano well. The simple revolve-set gives us a stony peasant hut and an even stonier mountain path, which is all we need. The care which Luis Olmos has put into his final production as Director of the Theatre extends to scrupulous, sensitive direction of the Andalusian dialogue scenes and detailed character acting throughout. There’s absolutely no sense that we’re marking time for the next musical number to start, which considering that this dialogue is by Carlos Arniches and of very high quality, is right and proper. I’ve never heard the house orchestra play better than they do here for Cristóbal Soler, whose tempi are perfect and whose beat is both as authoritative and as flexible as it should be. The new music director is going to be a great asset to La Zarzuela. I’m not ashamed tell you, quite predictably, that the Theatre’s Chorus work is every bit as thrilling and precise as we’ve come to expect during Antonio Fauró’s tenure.

The production of the late Herbert Wernicke is based on a circular platform in the center of which, in "El amor brujo", is the cantaora Esperanza Fernándezand elements of eternal Spain parade: the guitarist, the bullfighter, the Nazarenes and also the fire, through the flares emitted in the magnificent and full of haunting ritual dance, the stones that surround the circular stage. In "La vida breve" the same scenography is maintained that, intelligently, becomes the scene of Carmela and Paco's wedding party where the regista shows skill in scenic movement and good direction of actors. During the interlude prior to act II, the cantaora recites some verses that do not appear in the work and that disturb the enjoyment of Falla's magnificent orchestration. In the end, after Salud's death and the last orchestral chord, flowers rain down and the cantaora reappears to join the other victim of love,

The performance of the show is perhaps the most complete that we have seen in recent years at the Zarzuela. Beatriz San Juan's scenography , enhanced by the strident lighting of Valentín Álvarez , has a frankly impressive force. Sol Picó's choreographies disturb and move in equal measure. In another order of things would be the artistic team Each character in the plot unfolds into a singer and an actor / dancer / reciter. Sticking to the musical chapter we will not stop giving a closed ovation to the singers who brilliantly gave voice to the troubles of Liríope, Amor, Delfa and la Ninfa

The character of Elisa de Montellano was played by Ruth Iniesta, who with a deep timbre was able to captivate the audience, receiving great ovations at the end of her performance despite not having a great romance. The same could be said of the rest of the singers Fernando Latorre and Marifé Nogales, whose performances in duos and concert performers contributed great quality to a performance characterized by the rhythm, inspiration and vivacity of the best Barbieri. The leading sextet was a luxury in the canoro and very dedicated in the acting, although the females stood out more than the men. We congratulate the managers of the Teatro de la Zarzuela for this initiative and we hope that this and other zarzuelas by the great Barbieri take the stage doing entire cycles of this composer. Without intending to make mistakes ... the Teatro de la Zarzuela has to its credit productions of "Barberillo de Lavapies", Pan y Toros ", Gloria y peluca", Play with fire "," The diamonds of the crown "... which could perfectly make up a Barbieri cycle ... along with the one we have discussed in this writing and others that could be added.

The direction of Andrea Marcon, always lively, attentive, without unnecessary excesses and with great intention in the instrumental fragments. Marcon's operatic work does not seem to attract attention in recent years, but he is probably one of the Mediterranean conductors who best caters to 18th century musical writing in terms of vocal accompaniment, and he knows how that orchestral chrysalis has to be woven together to that allows the singer to project, fill and move without losing an iota of grace. The orchestra did what it could, rude in the attacks and without the timbral or the precise dynamic detail, but taking into account the position in which it was, it was not an obstacle to the enjoyment of the excellent music of Boccherini.

The action is therefore planted on a bare stage and under harsh lights, with a backdrop dotted with black tubes or crimson spots (designed by the painter Frederic Amat), on which stand out the characters dressed in ageless allegorical outfits. in parsimonious gestures. The events which bring together the actors of the drama, the mythological one of Iphigénie confronted with avenging oracles, therefore remain confined to the metaphorical stature. Rather attractive! The musical side, it seems that the approach is of the same order. Since it uses the theater orchestra holds more customary repertoire of the XIX th and XX th centuries. On the contrary , other baroque productions in this house, such as the Durón diptych seen last season with García Alarcón's Cappella Mediterranea (2) or Viento es la dicha de Amor, by the same Nebra, performed in 2013 with the excellent Baroque Orchestra of Seville. In addition to the forty or so instrumentalists of a traditional “Mozart” formation, there is however a continuo, with cello and harpsichord, as well as natural winds, in a completely period style. A way of treating Nebra like a classic, like we treat Mozart. Why not? ... Especially that the lively direction of Francesc Prat knows how to find the carried accents which innervate a splendid score, whose brilliant exuberance returns to soloists who defend it without counting. The merits of María Bayo (photo) are no longer to be singled out, who plays the title role with the vocal authority that we know her. But Auxiliadora Toledano, Ruth González, Erika Escribá-Astaburuaga and Lidia Vinyes-Curtis, also experienced in baroque singing, give it a proud reply.

'Katiuska' is the first work for the scene that Pablo Sorozábal composed, thus giving the composer a turn from symphonic to lyric music. His gifts, not only for the orchestra and melody, but also for the stage, made him the center of the last stage in the history of zarzuela. The fineness of the music stands out from the first scene, an elegant orchestration, good concert performers, intense and varied romances, as well as a collection of dance performances and comic or exotic numbers typical of the operetta genre.

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.

María Bayo, around 60 years of age, can boast of having what made her a first-rate singer. The unmistakable timbre, the projection with a glass and steel tip capable of reaching the last chair in the room. It also has its own ways, for better and for worse, and for this and that I have it as a voice with a strong personality, recognizable with blindfolds. Personally, I was pleased to find that voice so similar to how I heard it the first time, back in 1998 in Barcelona, ​​playing the main character of La Calistoin Barcelona. Later I was able to enjoy it, already in Madrid, playing Manon, Mélisande and Cleopatra. I remember that in his Mimì de Bilbao (2004) I already noticed changes in his voice. Shortly after she played Rosina in Madrid and it was evident that she had started on the vocal path somewhere. In 2008 I applauded her as Blanche de la Force ( Dialogues des Carmélites ) in Oviedo and thought to myself that she was still on the road somewhere. When in 2016 I witnessed his performance in the baroque zarzuela Iphigenia in Thrace, disappointed me. That is why I celebrate that in this concert, singing what so many praises brought her, she found her with a clear voice, with freshness. It should not be forgotten that the passage of time has had its natural effects, especially in the low zone, but what has been gained in experience comes to the aid of a voice that is still there, to continue giving joy to many fans. A pleasant surprise, for me, has been the Vespres d'Arnadí group, directed by Dani Espasa from the harpsichord. They shone in instrumental interventions, especially in Vivaldi's L'Olimpiade overture . The audience applauded enthusiastically and tore tips from the artists of Nebra and Martín y Soler.

We enjoyed the Austrian baritone Florian Boesch (1971), -with Justus Zeyen (1963) at the piano-, resident artist of the Cycle this season, who will offer three recitals throughout the season, and which was debutant in the Cycle in the 2010-2011 season. The recital's design featured a wide selection of songs by Franz Schubert and Hugo Wolf - their Italienisches Liederbuch (1892-1896) - along with a less frequent repertoire around Frank Martin's Sechs Monologe aus "Jedermann", in a historical zoom line that would go from the past to the present so that you can see how the Lied has evolved stylistically. Approximately seventy minutes of recital, without pauses, in which we were able to enjoy -especially in Schubert-, Florian Boesch's vocal media, executing quality bass-ductile and bronze-, which adequately communicated text and singing from stormy environments of the nature beautifully exposed by Zeyen's piano. This group of songs, that oscillate between the unleashed of Waldesnacht [ Night in the forest ], the calm of Im Frühling [ In the spring ] and the introspective of Das Heimweh [ Nostalgia] were adequately exposed in the mid and low range, although we do not understand that in the moments in which the high range is required, the singer would limit himself to intermittently humming with open and fluffed sounds - it is not justified even thinking that the The resource was merely expressive, forgetting that the vocal technique can also be put at the service of expressiveness, without losing the purest Liederista style. Herbst [ Autumn ] was the absolute credit of Zeyen, with that continuous sound mesh based on a measured pedal that only he knows how to synthesize to recreate a true autumn atmosphere.

we enjoyed the legato phrasing made and the artist who reduced a sound atmosphere -the very tender pianissimo to Nana dynamic admirably. Finally, what better than Abschied [Farewell], where Richter decanted the verses of this sad poem that shows the feeling of saying goodbye to nature, beauty, and what you love. That end with those long magic seconds of contention from the audience, before breaking into applause, were a clear demonstration that Richter achieved that -so difficult, on the other hand- so it is worth being a singing artist and making that space go beyond immense that exists between the interpreter and the listener: communicate the emotion. After multiple outings to greet by the Richter-Bushakevitz couple -and acclaimed by the public with the «bravi, brava!», Which this time almost filled the Teatro de la Zarzuela-, they awarded two tips: the burlesque Wie lange schon [ How long already ], from the Italian songs by Hugo Wolf -in which Richter joked with his pianist as part of the performance- and An den Mond [ To the moon ], one of Schubert's four songs dedicated to the star selenite. It is abundantly clear to us that Anna Lucia Richter is a great artistic asset to follow very closely, in addition to the interest of verifying the establishment of her new mezzo-soprano vocality, which she will surely count on as nature and the years on stage will round off that magnificent raw material that it possesses, in addition to that technique that already looks very established.

We attend the long-awaited debut of the French soprano Sabine Devieilhe (1985) in the Lied Cycle of the National Center for Musical Diffusion. We say expected because this coloratura soprano already has more than nine years of career behind her since she debuted in 2011 with Amina from La sonambula , and we knew first-hand that she was also an attractive voice for more chamber programs. Halfway through the concert, the soprano thanked the opportunity to meet the audience of the Madrid Ciclo, given the current circumstances, and highlighted the special impact on culture due to the crisis caused by the pandemic. we liked the Devieilhe-Tharaud couple much more in Debussy than in Ravel. On the vocal side, we find the singer more deadpan in songs such as the difficult La romance d'Ariel , or the suffering Apparition , which stood out more thanks to a great expository and expressive development of the singer and her facility for 'vocalizing' and coloratura in the high register, although in some passages we detect excess vibrato, not meatiness, in that register. Multiple outings to greet by the couple -and standing acclaim by the public that this time it did fill -according to the rules- the Teatro de la Zarzuela, three tips were awarded: The very difficult one, due to coloratura, « Aria del fuego ”, from The boy and the spells , by Ravel (the fire comes out of the fireplace and scolds the boy for his behavior and threatens to burn mischievous children), magnificently performed by Devieilhe; a piece by Rameau (with the piano simulating the harpsichord, so it did not wear excessively), and the precious jewel Youkali , by Kurt Weill (1900-1950), performed in a very sensual and heartfelt way, as appropriate, and which was widely rewarded in applause from the audience.

The 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.

several outings to greet by the Polenzani-Drake couple - and much applauded by the public, even some “bravo!” Was heard - they awarded two tips. Before announcing the second, a song by Rachmaninov, Polenzani took out his mobile phone and thanked, reading from the screen itself in Spanish, the opportunity to make his debut at the Teatro de la Zarzuela. Perhaps we will have more opportunities to listen to Matthew Polenzani , -because it is about repeating in the Cycle and not just debuting-, and except for details that we have not been able to stop commenting because they take away points from what should be an exquisite interpretation of the Lied repertoire, we believe that the artist neatly settled his debut in the very demanding -we want it to continue being like this- CNDM's Lied Cycle, both due to the programmed repertoires and the artists who attend it.

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.

Well known by the Spanish public for his recitals and operatic appearances, Bejun Mehta debuted in the Lied Cycle of the Teatro de La Zarzuela with a varied recital, in which the Lied itself, so difficult to imagine in the countertenoril voice, alternated with an aria of great virtuosity and the wonderful scene that Haydn dedicated to Ariadna in Naxos , and that so many in the room would remember sung by Teresa Berganza. The pianist, with a relevant role, managed for his part to convey something of the warmth that despite his length and his fabulous technical mastery is still lacking in the countertenor. Mehta had opened the recital with a piece of the great exhibition, the sublime "Ombra felice!… Io ti lascio" written by Mozart for castrated, in which the great virtuoso was found again, this time at the service of theatrical intensity in the expression of feelings. Another kind of effort made in the more internalized Ariadnaof Haydn, so complex in the translation of the feelings of an abandoned woman, of Ovidian roots and noble and contained expression, despite everything. A great recital dedicated, as you can see, to the expression of love from many different perspectives. Bejun Mehta embroidered it, to great applause from the audience.

In this new evening of the CNDM's Lied Cycle at the La Zarzuela Theater, he was in charge of giving life to the young lover Christoph Prégardien, who interpreted it with the voice for which it was originally written, that of tenor, this time lyrical-light, which allows us to listen as a youthful character does not always, who lives without the slightest distance his love affair with the miller who he ignores it, while pouring into the stream –also on the flowers and the stars– some newly released feelings, rushed to the bottom. In a somewhat paradoxical way, Prégardien's school and style stem from a rigorous classicism: attention to detail, flawless phrasing, middle voices, sustained and extended notes, crisp singing line, exquisitely polished articulations, dramatic contrasts internalized in pure singing ... A whole lesson in technique, extremely sophisticated, put at the service of a charmingly simple character, without the slightest fold,singing , expressing the wealth of emotions that overwhelms him from the first Lied , which defines it in five stanzas that require a wide variety of nuances, until the long, almost endless final farewell. The two musicians offered two tips, something rare in recitals dedicated to a single song cycle: a beautiful version of El tilo and the very impressive Holy Night , with which Prégardien demonstrated his sensitivity and celebrated his return to the stage.

It is the voice of Núria Rial, very suitable for this repertoire, since there was never a need to ascend to notes higher than the acute A, and where the emission of a very beautiful sound, the enamel and the crystal of the timbre, are boldly cared for. all combined with an adequate volume and a very good administration of the fiat, which allow the interpreter to show off the linked song and a phrasing that can always give way, without any complications, to the intercalation of sophisticated agility or vocalization. In this way, we were able to enjoy the first five songs of Mozart in German, of varied themes, of which we highlight very favorably the intense and interpreted with intention, Als Luise die Briefe , K 520 (1787), which theatrically narrates the uncomfortable and dramatic situation in which "Luise was burning the letters of her unfaithful lover." Of the last two, in French, we highlight the first, Oiseaux, si tous les ans , K 307 (1777-1778) [ Birds, if every year ], very well contrasted by the interpreter, in a romantic key, in conjunction with that Sound so fluffy that Andreas Staier distilled into all his accompaniments. The recital, lasting approximately 75 minutes, without pause, was highly applauded by the audience, who almost filled the Teatro de la Zarzuela, forcing the soprano to give a tip, which was kindly attended -although he pointed out addressing the audience that he could hardly speak-, and announcing the famous song Sehnsucht nach dem Frühling [ Longing for spring ], and commenting that it is in May, and not before, that spring begins to be reborn in Vienna. A nice performance, of course. Therefore, we are not opposed to the Rial-Staier couple visiting us again and giving us double recitals like the one that happened this evening.

The drama of this music, is truffled with declamatory overtones, and does not represent any problem for our baritone, except in the high range, not liking how it resolves these moments: with a shouted, narrow voice -high larynx-, fixed and bland, with stridencies far from what we understand as an expressive device, although the artist probably "sells" that this is his intention. Reisebuch aus den Österreichischen Alpen , is a very valuable work, which we like very much. We had already heard it at the March Foundation, in January 2015, in the Cycle Los antimodernos, also with Boesch as the protagonist -in a version a few points more restrained in drama, much slower, more sung and less declaimed-, accompanied in that occasion by Roger Vignoles. Although we prefer the 'in medium, virtus', counting on the plus of the greatest drama applied on this occasion, which is also good for the piece, it is not surprising that the audience cheered both interpreters with volleys of applause and shouts of ¡ Bravo, bravi !, for the interpretive effort and the dramatic emptying that these interpreters managed to achieve and that -of course- reached all the seats of the Teatro de la Zarzuela. Like all good Cycle completed well, no tip was offered, as we understand it should be done.

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.