Gustavo López Manzitti / Reseñas

The production makes little attempt to re-create 1stcentury Rome and instead it is suggested in the setting, which is dominated by a stadium-like tiered bank of plastic chairs, on which different groups of spectators move and sit and the nude Drusila (Caligula’s now dead sister and lover) wanders – a concept that works well, in making these spectators part of the action while at the same time drawing in the audience. In such a context modern day dress is of course de rigueur, with Caligula’s Act 3 drag outfit and Helicon’s toga also entirely in keeping. Ira Levin, who holds the position of invited principal director of the Colón orchestra, was in complete command, providing a fluent and well balanced playing from the augmented orchestra. Peter Coleman-Wright gave a masterly – if obviously older than 30 years – performance as Caligula, effectively conveying the perversity and absurdity of the character. Yvonne Howard was similarly effective as Caesonia, particularly her distracted approach to Caligula’s goings on in the first half. Martin Wölfel’s voice was just right for Helicon and after Jurgita Adamonyte’s Scipio, look forward to seeing her in the completely different role of Idamante later in the year. Good work too from Héctor Guedes (Cherea), Fernando Chalabe (Mucius), Victor Torres (Mereia and Lepidus) and Marisú Pavón (Livia), and from the young actress Lara Tressens (Drusila), as apparition-like as she could be, who didnt take a curtain call.

Musically the production was in the hands of Alejo Pérez, who brought a correct reading of the colourful and melodic score. The cast, like the production, was a local one, apart from the role of the Composer, which was well sung by America mezzo Jennifer Holloway and that of Zerbinetta. Russian soprano Ekaterina Lekhina gave a brilliant account of her famous aria ‘Grossmächtige Prinzessin’ but came across as somewhat brittle in her acting. As the Prima Donna – with her poodle in the Prologue – and Ariadne, Carla Filipcic Holm brought power and beauty of line to the role and Gustavo López Manzitti was up to the demands of the Tenor and Bacchus. Hernán Iturralde was a solid Music Master and likewise Pablo Urban as the Dance Master and the three players – Luciano Garay, Santiago Martinez, Iván Garcia – and three nymphs – Laura Pisani, Florencia Machado, Victoria Gaeta – well played their respective roles.