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Critical | Verdi in Paris in front of the ‘yellow vests’

“Erupts in the crowd”, mark the didascalia. A choir, enfervorecido and threatening, surrounding to a representative during a meeting with his advisers. And crie

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Critical | Verdi in Paris in front of the ‘yellow vests’

“Erupts in the crowd”, mark the didascalia. A choir, enfervorecido and threatening, surrounding to a representative during a meeting with his advisers. And cries out, “o Vengeance! ¡Revenge! ¡Revenge! I run the blood of the murderer!” It happened last night in Paris. But that crowd is not dressed in yellow vests, but rather street clothes. And the president was not Emmanuel Macron, but an updated version, but also in trouble political, of a doge in genoa in the XIV century. Sometimes, the opera and the reality go hand in hand. It was the most impressive moment of a memorable role of Simon Boccanegra, by Verdi, at the Opera Bastille. An end of the first act with the same dramatic tension that was going on yesterday through the streets of the French capital, frightened face of the violent altercations, advertised for today, Saturday, by the so-called “yellow vests”.

Might not have been a more appropriate title, within the extensive catalog of Verdi, to reflect on the current situation of disaffection policy

Might not have been a more appropriate title, within the extensive catalog of Verdi, to reflect on the current situation of disaffection policy. Simon Boccanegra is based on the drama's namesake Spanish playwright Antonio García Gutiérrez, who came in 1839, within a country shocked by the civil discord of the First Carlist War, and that Verdi turned into an opera, in 1857, linked to the context of the Risorgimento. Its premiere in Venice was a failure and soon disappeared from the repertoire. But again, in 1881, after a deep revision of the libretto of Arrigo Boito, and almost a third of new music. However, there still remains today a title controversial where they live, surprisingly, most of the approaches to music early and late Verdi with a complex plot that mixes the historical, political, and sentimental. Giorgio Strehler, responsible stage of the definitive consolidation of this title at the beginning of the seventies, and also of its premiere at the Paris Opera, which did not occur until 1978, defined laconically as “a big, complicated and artistically orderly disorder, which is like life itself.”

political disenchantment

Verdi banished, in his aforementioned review, the tone gloomy of the first version, in favor of the colorful instrumentation and the brevity vocal, which later you will find in Othello. But, he added, in addition, a pose of political disenchantment that followed the Italian unification. You listen to him, precisely, in that end of the first act, with the imposing Scene of the Council, where the protagonist invokes the peace, quoting Petrarch. The baritone Ludovic Tézier was the big winner of the night, with a portrait fascinating of Simon Boccanegra. Not only in the dramatic, with this evolution from the juvenile corsair without political ambitions until the old man dies and become a great statesman, but also in music. The French wore that ideal combination of authority and expressiveness vocal in the andante mosso “Plebe! Patrizi!... Popolo”, which became the apex of his performance. It was his first incarnation scenic character verdiano, after having Betvole sung last year in a concert version, but is called to be one of the greatest interpreters present.

SIMON BOCCANEGRA. the Music of Giuseppe Verdi. the Libretto by Francesco Maria Piave and Arrigo Boito. Cast: Ludovic Tézier, Mika Kares, Maria Agresta, Francesco Demuro, Nicola Alaimo, Mikhail Timoshenko. Orchestra and Choir of the National Opera of Paris. the Address music l: Fabio Luisi. the stage Direction : Calixto Bieito. National opera of France. Season 2018/19. the Opéra Bastille, until the 13th of December.

In the paragraph stage Calixto Bieito outlines perhaps one of their creations dramatic and more compelling for an opera house. The régisseur Catalan, that the next season will start in Paris to its first production of the Ring wagner, you opt here for the convert Simon Boccanegra is an intense psychodrama. The scenery of Susanne Gschwender, which is limited to the gigantic structure of a boat, is a boast of phrenology, as He recognizes, in the hand program, which represents the head of the protagonist. We see, therefore, the whole degradation psychic by means of countless twisting movements seasoned with videos projected from your subconscious. Has extras, like the ghost of Maria Boccanegra, the true love of the protagonist, which is perhaps unnecessary, but also the dingy lighting of Michael Bauer who says, perhaps in excess, the character's murky history. He asks, however, in the legacy of Boccanegra as ruler peacemaker in his direction of the actors. And the isolation of each character, at the beginning, we glimpse a society that is more conciliatory, who looks and embraces.

Verdi banished, in his aforementioned review, the tone gloomy of the first version, in favor of the colorful instrumental

Another relevant aspect was the musical direction of Fabio Luisi. Their condition of Italian with wide experience in orchestral central allows you to combine the subtleties orchestral and dramaturgical of this complex score of Verdi. It was a version of refinement viennese, with that exquisite alloy, rope, wood, and metal, but also devoid of excesses bombásticos. The principal genoese defined each flat sound of the opera, with precision, dramatic, from the undulating sea passage from the beginning until the strange imaginings to the end that represent the string to the poison that kills slowly the protagonist. Sensational performance from the Orchestra of the National Opera of Paris, but also the Chorus, which sounded wonderfully in the intimate moments and exalted in the dramatic.

the rest of The cast vocal was important. Starting with the Amelia Grimaldi, melancholy and musical, and the soprano Italian Maria Agresta, although also cold. Awesome the voice of the young under Finnish Mika Kares, as Fiesco, in spite of being very believable as a character. The Italian tenor Francesco Demuro, as Gabriele Adorno, wore and delivered a beautiful tone, but also tension in the treble. Nicola Alaimo wrote a convincing Paolo Albiani, like the Pietro of Mikhail Timoshenko, to whom was added the bit imaginative role of degollarlo. One of the few details of unnecessary violence in a production almost round will be next Monday, provided this is permitted by the “yellow vests”.

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