Written by Neco Verbis —
Vienna, October 3, 2015 –
Will be "Museum in Progress"but of course that is a surprise every year the iron curtain of Vienna State Opera. This year welcomes a woman lost between colors, nestled on the ground, looking unconvinced themselves. Still less convinced, except some cases on contemporary life, even the spectator, despite the appearance of figurative artist Dominique Gonzales-Foerster, which won the curtain of the prestigious Opera House in the Austrian capital for the 2015-2016 season.
More convinced, luckily, Viewer Il barbiere di Siviglia of October 3, 2015, who, with his usual bonhomie all visited Vienna to attend the Rossini's masterpiece. And it must be said that this Hair is spent, almost ran away, sparkling like a nice pitcher of beer, too…
The Spanish master Guillermo García Calvo especially at the beginning, the times much to risk self-strangulation even Javier Camarena in the role of ’ count of Almaviva. Okay that Rossini is performed brilliantly, but here the first act has obstacle course. Luckily, times have soothed (maybe even Master) and, in turn, also singers.
In addition, the Director was in the mood for finesse. Even at "cramp in my foot" by Rosina publish the theme of Musetta from the second act of "la Bohème". Unusual contamination actually, and for connoisseurs, too, but, consistent with the scenic event "What pain, what burning [...] the footer ". Subtlety has proved a bit’ excessive, because it should have been backed by other subtleties, especially in overall yield and dynamics of orchestral color. Luckily the Vienna State Opera Orchestra is a panzer and no Director, not even the most original, succeeds in undermining the whole Germanic aplombe.
Nonostante l’agilità vocale e lo squillo, Camarena, pursued at speed, has lost more than once in the quagmire rossiniano, with several inaccuracies and especially with an aggressiveness in dealing with the part of Almaviva worthy of the best Mexican leader to Pancho Villa ... All through gritted teeth that count, with the beautiful Angela Brower in the role of Rosinawith a voice that was not, nor rossiniana in one direction or the other, for the one part bumpy. But he did, in curious middle ground that has seen protagonist; rather colorless, but still correct.
E mentre il Maestro Garcìa Calvo correva insieme a tutta la Wiener Staatsoper Orchestra, Don Bartolo, Wofgang Banklat the beginning especially, interwove with the words and the Italian decision. Of course a Spanish tutor and viennese source with Italian diction problems isn't the greatest, but the voice was pleasant; definitely some characterization’ less.
The same is true of Don Basilio by Ryan Green Speedo, the highest American bass, unusual color to look but also to listen, because I knew the clothes of the father guardian of La Forza del destino, rather than in those of Maestro di musica Rossini. All Greens and everything in progress we hope for this young performer and has a great voice and a decidedly dramatic temperament.
Figaro, Christopher Maltman, remained here tail light, even after the Berta by Simina Ivanbecause it is only heard on stage, almost not seen. Unfortunately the British school baritone, much more versed in Mozart in Rossini, failed to stage presence, biting and light-hearted spirit which must characterize the character. And also vocally proved the more "off", starting with the cavatina, rough and not very effective.
Then we wonder why Barber It was still a pleasant spectacle. And’ simple: because the collection was admirable cohesion, because in production designed by Günter Rennert with Alfred Sierke, who signed the acceptable costumes, the scenes were structurally awkward and convoluted for interpreters, with a spiral staircase from the shaking knees, but adequate and functional performance: she saw the final scene on the balcony and balcony without scale…Thing you see rarely, really.
All this with a single interval, ran out in one breath, how's it going down that mug of beer which was mentioned at the beginning, under the directing Guide by Richard Bletschacher"Nordic", weak mind that Rossini did not capture the participation of interpreters.
In short, more pleasant to hear that from watching, this Hair has proved to be very Vienna-Spanish, and very little Italian.
Then, always with the same spirit, to flavor the boccalone guzzled beer in one gulp, upon exiting the theater, all in enjoy a nice wiener schnitzel…With a little’ regret, though, for a nice plate of "Figaro cakes"that the great Rossini would certainly first prepared and then eaten by connoisseur.
©Neco Verbis only for OperaeOpera
PHOTO JAMES LEVINE/Michael Poehn