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Do not you say that music is a universal language? Well, Friday, the aphorism was proved: the applauded audience really enjoyed the premiere of "The Barber of Seville", although he did not quite understand what was happening on stage .
The bad device of subtitling (supratitulado, in fact) in many moments obscured the connection of the public with the work. We saw them out of sync, distributed with parapads or simply we did not see them: especially in the social gathering and paradise, where literally they covered them the grid of lights (like last year with "La Traviata", and without to find a solution).
There was a disconcerted audience, disillusioned but not resigned: those who could solve the barrier of the language barrier (understand the Italian intuitively, especially in the recitatives) or get carried away by this good machinery theatrical and musical, appreciated and happy
And in general it was like this: the public (who sold the first show) applauded for several minutes the "Barbero", the second opera staged by the Ministry of Culture since last year.
Integrally, this production is the result of a great artistic effort. We heard beautiful voices, among which the Rosina de Griselda López (refined lyrical voice and warm overtones, in a role perhaps not quite appropriate for her), Don Bartolo by Luciano Miotto (a singer-actor). an excellent scenic dominance, voice full of nuances and impeccable phrasing) and Fígaro of Omar Carrión (baritone of great office and voice corpulenta). Ricardo Mirabelli, of insufficient vocality for the role of the Count of Almaviva, had a theatrical solvency. They finished their roles Alejo Laclau, Gloria López and Daryl Figueroa.
Gustavo Fontana, director of the Mendoza Philharmonic Orchestra, comfortably accompanied the scene. A scene that has managed to be dynamic at all times (counterbalancing the slow dramaturgical rhythm of this type of opera). Federico Ortega Oliveras, head of the management, has created an efficient and contemporary device, through a variety of resources: vintage and kitsch elements, choreographic sequences, projections and good theatrical solutions to the booklet.
In general, it must be said that the road for the opera continues to mature in Mendoza is slow, and that it has not started long either.
This kind of shows, by saving some easily correctable mishaps (like a good subtitle), are very healthy for the culture of Mendoza: the artists who come from the theater office win, the musicians, technicians and designers win. And the public prevails especially because, as we said at the beginning, music is a universal language and (among these music, among these languages) the opera is the expression the most integral.
The Disc: "The Barber of Seville"
Opera buffa by Gioachino Rossini. With the Mendoza Philharmonic Orchestra, directed by Gustavo Fontana. Singers: Omar Carrión (Figaro), Luciano Miotto (Don Bartolo), Griselda López Zalba (Rosina), Ricardo Mirabelli (Count of Almaviva), Daryl Figueroa (Fiorello), Alejo Laclau (Don Basilio) and Gloria López (Berta ). Assembly of voices, under the direction of Mónica Pacheco
Directed by Federico Ortega Oliveras.
Date and time: firsted last Friday, repeated today, July 3rd, 5th and 7th, at 9:30 pm
Place: Teatro Independencia (Chile and Espejo).
Admission: $ 500 (stalls and boxes), $ 400 (chat room) and $ 300 (paradise). At entradaweb.com and at the theater ticket office, Tuesday to Saturday from 18 to 21.
Note: Very good
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