EspañolLast night I saw for the third time and last Il Trovatore, I would like to clarify that I bought only two to comply with any commitment and also to see the two cast. The third was the premiere and that was invited as everyone who was there.
What to do a review of the three representations will leave Roger Alier and the bloggers who engage in body and soul to it, many do so very, very well. Just say that the best one yesterday
yesterday’s performance had a previous on Monday when Friends of Liceu organized a meeting with Fiorenza Cedolins, Stefano Palatchi and director (aka Maestro) Marco Armiliato (a great character) the meeting was very well especially when appears the eternal question, the staging. After an exchange of views, between the guests and the public, we concluded that the “famous Il Trovatore staging” did not like anyone, but as Mr. Armiliato said: “always it can be worse” giving an example of one of the “things” that usually are staged on Germany Operahouses.
The big question was asked by my neighbor. If audience don’t like it, if criticism don’t like it If the characters don’t like it Who likes it?
I think only Mr. Matabosch Liceu artistic manager knows the answer.
As a small sample, here you can see some photographs by Antoni Bofill.
Looking these photos you can say: It is not so bad. The problem is that staging don’t look the same in photo as in live. After three hours we just no light changes, seeing the same a wooden box, and some curtains falling, public hope one curtains fails in order to enjoy a bit with a small change.
On backstage visits one my preferred spaces is the rehearsal scene room. There I explain about the importance to rehearsal the scene movement always attached with a lot the movement of other characters and a lot of times with special effects like lights, or volumes movements. On stage nothing is improvised.
Perhaps thinking about this one lady said … Well, you wouldn’t have too much to rehearse.
No, said Mrs. Cedolins immediately. We have to rehearse a lot, said with a curios expressions on her face that I interpreted as “I got fed up”
The immediate question was. What did they have to rehearse?
Subtle movements and expressions was the answer
Ah! Finally, I understood what Mr. Deflo was thinking when he conceived this staging. Observe this photograph I have allowed myself to add a few annotations.
This is a model of theater that currently can be seen in the Espai Liceu.
Liceu’s auditorium measures 33 meters long, as shown in the picture, the scenic area is 16 deep.
Okay, maybe this is not the best example, this is an aria, and there is not good seeing the singer hooping on stage or overreacting as old silent films style. I included it as a sample because regardless D’Intino great voice her facial expression is superb. The problem is when somebody decides to extrapolate the subtlety contained in that expressive eyes to the whole whole of the opera without any other “superfluous” element that could “distract” the public.
We cannot see these eyes in the theater !!!!! specially when you’ve left the binoculars at home because between my glasses and d’Intino eyes are about forty meters far.
Summarizing the Deflo thought this opera for TV and not to the public.
Sometimes when I teach the Liceu say that theater is body and soul, stage and auditorium. On one side of the curtain are the professionals and the public on the other and together make the opera remains a living art.
Popularity: 5%
Muy buen trabajo!! Tienes toda la razón. La obra vista en el teatro acaba siendo tan monótona, los actores se mueven e interpretan tan “sutilmente” que se te acaba yendo la cabeza a otra parte. Creo que se ha perdido una gran oportunidad para hacer algo bueno…otra vez. Y ya van….