Loving in past times
Valladolid. 02/04/24. Calderon Theater. Mozart: Così fan tutte. Jacquelina Livieri (Fiordiligi). Carmen Artaza (Dorabella). Josep-Ramon Olivé (Guglielmo). Joel Prieto (Ferrando). Paula Mendoza (Despina). Enric Martínez-Castignani (Don Alfonso), among others. Calderón Lírico Choir. Vespres d’Arnadi. Carlos Aragón, musical direction. Rafael R. Villalobos, stage direction.
Often, as much as we identify Mozart as being ahead of his times, a visionary in what music is concerned, his operas fall into old commonplaces about society and, most especially, about women. The Rapture in the Serrallo, The Magic Flute, Le nozze di Figaro, Don Giovanni…The image and use that we have or show of them in their plots is far from the current reality of equality that we are building as a society. Among all of them, the That’s what they all do (This is what they all do), one of his most complex scenic works to represent given its circumstantial complements of very reduced space and time, added to the statism of some numbers. Not only that, but from its title, an outdated tone is imposed on the infidelity of women, which, however, has not been an obstacle to the fact that throughout history there have been numerous great names on the scene who have wanted to capture his vision on Da Ponte’s libretto.
In this sense, premiered at the end of 2020 at the Maestranza in Seville, the production designed by Rafael R. Villalobos that has now been seen at the Teatro Calderón in Valladolid is not only accurate, not only well resolved, but also necessary. His idea suggests, in some way, turning the argument around, more than the argument. In any case, bring the art of Mozart and Da Ponte closer to our gaze, to our present day. In that sense is where one can always affirm that opera is a living art. Afterwards, the proposal may be liked more or less viewer by viewer, but communication with today and from today is one of the ways to continue growing and transforming ourselves with art. This is demonstrated by this As as demonstrated by their recent Tosca o The rape of Lucretia. Works of beautiful aesthetic work lived from within the lyric and reaching its present. I don’t know what more can be asked of day-to-day professionals in this profession of stage management so that they are valued in prizes and awards before the debuts of those who are passing through here.
The scenery of Emmanuele Sinisi, a regular collaborator of Villalobos, results from a beautiful, clean, minimalist aesthetic that marks its own identifying mark. Few elements come together here, playing with an iconography that serves as a framework for the comedy of this work that, although with a bitter and open ending, is still a comedy. Villalobos’ work focuses on giving shape to the six characters of the opera, giving them not only life, but whys and arguments, reasons to act as they act. Guglielmo and Ferrando have been out of phase at their bachelor party and have left Fiordiligi and Dorabella at the altar, in this circular story that ends as it ends and that will continue to repeat itself in its essence until the present. Definitely, As It’s something that could happen in The island of temptations or for a nanosecond in the Preysler metaverse. The introduction of the mothers of the two of them is magnificent, emphasizing the great work that so many mothers have done for equality. And the other great axis on which the idea of the Sevillian regista pivots is that narrative that shows the passage from childhood to maturity, the path to adult life through the disappointments, among others, of love. Although it has been there since Shakespeare, it is only a few generations ago that we have found the sensitivity and art necessary to give it shape (how can we not love Céline Sciamma, for example?). In this case, Villalobos – Barbara Streisand’s dispensable addition with her People aside – it enhances that portrait of girls who, after all, are 15 years old, leaving their stuffed animals behind to venture into what their hormones demand of them.
From the pit and the proscenium, the orchestra and choir did not find the best forms on this night. The work of Carlos Aragon in front of Vespres d’Arnadí it was somewhat flat throughout the work. Attentive to concert on stage, but with a historicist formation that did not sound integrated or compact, with striking imbalances especially in the winds, and in a reading in which greater fantasy and color were missing. On stage, yes, a team of singers committed to the proposal. A choral team effort that showed beautiful solo moments in the voices of Jacqueline Livieri such as Fiordiligi and Carmen Artaza Like Dorabella. The latter she gave along with Josep-Ramon Olivé and his Gugilielmo which for me was one of the best moments of the night: Il core vi dono, along with Ferrando’s aria: Loving aurasung with exquisite taste and wisdom by Joel Prieto. The cast was completed by the successful, very well acted Don Alfonso of Enric Martínez-Castignangi and the wonderful, both acting and vocal, Despina de Paula Mendoza.
2024-02-07 23:26:26
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