Criticism: Great voices for “Adriana Lecovurur” from Málaga

great voice forAdriana Lecouvre » from Malaga

Adriana LecouvreF. by Celia. Liana Haroutounian (Adriana), Alejandro Roy (Maurizio), Clémentine Margine (Princesse de Bouillon), Louis Cancino (Miconette), David Lagares (Prince de Bouillon), Louis Pacetti (Abate de Chazeuil), Pau Armengol (Quinault), Nestor Galvain (Poisson), Alba Chantar (Juvenot), Mar Esteve (Danceville), Asun Aylon (Adriana’s assistant). Malaga Opera Choir. Malaga Philharmonic Orchestra. Stage Director: Joan Anton Recchi. Music Director: Oliver Diaz. Malaga, Cervantes Theatre, May 19.

General rehearsal of the opera “Adriana Lekovurur”

Málaga’s Teatro Cervantes has managed to pull off one of the best lyrical productions of recent yearsEspecially because of the superb and compact cast of singers of truly international stature. Liana Haroutinian He has a perfectly lyrical voice, full bodied, with beautiful rhythmic nuances and ample ability to project his voice. But, Above all, he is a very careful phraseologist who knows how to use sliders with an expressive and emotional meaning., He displayed this with great care in “Io beta lumile ancella” and, most of all, in his entire final scene, from “Poveri fiori” onwards, where his singing completely turned into a passionate lament. in front of him, a Alejandro Roy is in full force in a role that’s built to measure up to his roaring voice and that doesn’t ask for his understated refinement mezzoforte, it is widespread Fiat This allowed him to string together the phrases of “La dolcissima effigy” with a continuo, knowing when to drop the accents on the main notes. Bravo goes beyond his story of “Il Russo Menchicoffe” and makes his final scene with Adriana’s demise truly thrilling. Another outspoken cannon was Clémentine Margène’s Princesse de Bouillon., who made a formidable entrance in the second act with a fiery “Eserva vuelta” for the passionate fury that his phrases evoked. The wide voice, the deep and well-supported bass as well as the absolute ease in the upper band lent complete reality to the inner evil of his character. In a role he completely dominates, Luis Cansino was once again the sensitive and quietly loving Michonnet, with a very carefully phrased and very well cast voice.It should be noted though that there were times when the tone of the voice got darker which didn’t always come out very clearly. Magnificent as the characteristic tenor Luis Pasetti and as forceful and well-placed on the scene as ever, David Lagares is one of the most established basses on the Spanish scene. We should also congratulate Cervantes for accomplishing mold With a large set of secondaries of a much higher quality than usual for these characters.

The chorus sounded irregular, especially some of the female sections with open voices at times. What was impeccable, with strings of clean and crystalline sound in the most intimate moments, was the Málaga Philharmonic, especially in the closing scene, with a breath of sound that vehemently got away with. Oliver Diaz was responsible for it all, as he submitted his baton to the Málaga Orchestra to the millimetre. He struck a perfect balance between pit and stage, breathing with the singers and always underpinning the drama of the most intense moments such as the princess’s entrance in the second act.

Joan Anton Recchi signed on for this new stage production, which is characterized by restraint in set design. Due to the arrangement of the changing illuminated panels, the actors’ movements through the efficient, central stage were somewhat rigid and rapid. props, without a single table where the singers could rest their glasses during the party. The absence of ballet was resolved by having the characters dance to the beat of the dance, with better results. Excellent lighting, which was the protagonist of the scenic proposal. Andres Moreno Mengibar.

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