Madrid (EFE) that iconic “Nessun Dorma” that in the voice of Jorge de León from the Canary Islands has once again touched hearts.
There have been no big surprises in this finale for which the production designed by Robert Wilson, premiered worldwide in 2018 on these same stages, has been recovered, to which it returns after passing through spaces co-responsible for it, such as the National Theater of Lithuania, the Canadian Opera Company, the Houston Grand Opera and the Opéra national de Paris, where he will return shortly.
The Italian Nicola Luisotti conducting the Choir and Orchestra of the Teatro Real
Even with the same musical direction of that time, the highly acclaimed Italian Nicola Luisotti at the helm of the Teatro Real Headline Choir and Orchestra, the main difference in this return has been marked by the renewed cast, triple this time to take charge of the 17 performances scheduled until July 22.
In the first cast, the one in charge of the premiere this Monday, the Neapolitan soprano Anna Pirozzi stood out as the icy princess Turandot, agile in her treble, as well as the Georgian soprano Salome Jicia as the kind slave Liù and the aforementioned Jorge de León as the daring suitor Calaf.
His has been the beginning of the third act, when he anticipates his victory over the heart of the princess to the beat of “Nessun dorma”, one of the most famous and complex arias in lyrical history, which he tried for the first time in 2012 at the inauguration of the New Theater of Florence under the orders of Zubin Mehta.
His interpretation tonight has been immediately validated by the public who have not been able to suppress their applause.
Very appreciated the appearances of Germán Olvera, Moses Marin and Mikeldi Atxalandabaso
Along with the main trio, the appearances of the three ministers Ping, Pang and Pong, that is, Germán Olvera, Moisés Marín and Mikeldi Atxalandabaso, the only ones who have escaped the general immobility with their own grimaces and advances, have also been highly valued by the attendees. of Chinese puppets.
And it is that in the “fairy tale” that for Wilson represents “Turandot”, the story of an oriental princess who imposes three enigmas on her suitors under pain of being executed if they err in any of them, light and color -especially red and blue – play a fundamental dynamic role as opposed to physical movement, restricted for most performers.
“The most difficult thing to do in the theater is to give space for the music to be heard, especially in operas, which are so dense”, the American stage director usually justifies before a symbolic and minimalist proposal in terms of decorative elements, but with large masses of actors reminiscent of Xian’s terracotta warriors in their configuration and stasis.
As in 2018, however, it has not been liked by a part of the public, which has once again booed this approach.
Almost one hundred percent occupancy
Nearing one hundred percent occupancy, among the seats at this season’s finale there have been no shortage of important faces from culture, politics and the business world, such as film director Pedro Almodóvar or the president of National Heritage, Ana de Cave.
It should be remembered that if in the previous visit to the Teatro Real the performances were dedicated to Montserrat Caballé, who died shortly before after having established herself as one of the most famous Turandots in the world, this time the honoree was also the Spanish performer Pedro Lavirgen, who He triumphed like Calaf at La Scala in Milan and died last April at the age of 92.
2023-07-04 02:27:23
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