Past Production Reviews
8“Oliver Diaz al frente de la ORCAM presumió de colores y de gestión de balances, algo fundamental en la música de Sorozábal.”
“En el foso del Teatro de la Zarzuela se encontraba un músico de la talla de Óliver Díaz, que fue capaz de firmar una magnífica labor (…) En el acto segundo, impecable fue el acompañamiento a la sucesión de romanzas, así como la progresión dramática de toda la parte final”
The performance of the show is perhaps the most complete that we have seen in recent years at the Zarzuela. Beatriz San Juan's scenography , enhanced by the strident lighting of Valentín Álvarez , has a frankly impressive force. Sol Picó's choreographies disturb and move in equal measure. In another order of things would be the artistic team Each character in the plot unfolds into a singer and an actor / dancer / reciter. Sticking to the musical chapter we will not stop giving a closed ovation to the singers who brilliantly gave voice to the troubles of Liríope, Amor, Delfa and la Ninfa
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.
“Con un instrumento atractivo, cumplidor, actor eficaz y excelente configuración del papel, en consonancia con una campesina, la futura reina, Sofía Esparza, bella soprano de Pamplona, atractiva presencia escénica y voz dotada. Esparza tiene aún toda una carrera por delante, a pesar de haber hace ya años iniciado estudios de arpa, canto y pedagogía y seguido clases con Alberto Zedda, Mariella Devia y recibido más de una docena de premios. Este año abrió con L´elisir d'amore la temporada del Comunale de Bologna y es la primera vez que actúa en esta histórica sala.”
Por su parte, la Rosa de Sofía Esparza... fue perfecta. Es que no creo que pudiera pedirle más. Una vis dramática irreprochable, detalladísima, muy trabajada, junto a un timbre luminoso, claro, de atractivo vibrato y desenvuelto agudo. Una voz que corre desenvuelta por toda la sala.
