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3La joven Lara Diloy es una de las pocas directoras de orquesta españolas del circuito actual y posee un amplio conocimiento del repertorio sinfónico y operístico como quedó bien demostrado en esta representación. Siempre pendiente de los cantantes, supo imprimir a la orquesta el brío y la chispa que caracteriza esta obra. Se pudieron apreciar los delicados matices en la orquestación de una partitura de inspiración clásica, como lo es esta. Diloy demostró al frente de la Orquesta de la Comunidad de Madrid, esa seguridad que solo es fruto del trabajo y el talento.
La joven Lara Diloy se puso al frente de la orquesta de cuerdas que destinó Penella para esta partitura logrando que las notas del músico valenciano sonasen desde el mismo preludio orquestal con todo su encanto y evanescencia, pues, junto al arpa de Laura Hernández, las diferentes secciones brillaron tersas con una cuerda grave de gran hondura. Un aseado trabajo al servicio de las voces en lo que ha sido una oportunidad, como la de Irene Palazón, enormemente aprovechada.
The action is therefore planted on a bare stage and under harsh lights, with a backdrop dotted with black tubes or crimson spots (designed by the painter Frederic Amat), on which stand out the characters dressed in ageless allegorical outfits. in parsimonious gestures. The events which bring together the actors of the drama, the mythological one of Iphigénie confronted with avenging oracles, therefore remain confined to the metaphorical stature. Rather attractive! The musical side, it seems that the approach is of the same order. Since it uses the theater orchestra holds more customary repertoire of the XIX th and XX th centuries. On the contrary , other baroque productions in this house, such as the Durón diptych seen last season with García Alarcón's Cappella Mediterranea (2) or Viento es la dicha de Amor, by the same Nebra, performed in 2013 with the excellent Baroque Orchestra of Seville. In addition to the forty or so instrumentalists of a traditional “Mozart” formation, there is however a continuo, with cello and harpsichord, as well as natural winds, in a completely period style. A way of treating Nebra like a classic, like we treat Mozart. Why not? ... Especially that the lively direction of Francesc Prat knows how to find the carried accents which innervate a splendid score, whose brilliant exuberance returns to soloists who defend it without counting. The merits of María Bayo (photo) are no longer to be singled out, who plays the title role with the vocal authority that we know her. But Auxiliadora Toledano, Ruth González, Erika Escribá-Astaburuaga and Lidia Vinyes-Curtis, also experienced in baroque singing, give it a proud reply.
