The program of the Festival Castell Peralada offered again a varied range during six weeks (4 July- 17 August): concert, opera, ballet, dance, recital, jazz and pop.
For the most part, these events took place in the large auditorium in the castle park or in the Eglesia del Carme church. The large auditorium also makes it possible to present scenic opera productions. This year Verdi's La Traviata was on the program, announced as a Traviata that makes a 180-degree turn to tell a love story, seen from a new perspective: that of a free woman, a free spirit.
"Sempre libera", Violetta's outcry is projected on the set more than once as well as statements (by female authors) related to women's rights. Apparently director Paco Azorin wanted to convey his message very emphatically. But this interpretation is really not what the libretto of the opera tells us, nor Verdi's music. Violetta doesn't leave Alfredo because she wants to be free! To give just one example. And what is the role of this sweet little girl who walks through the action? Why does the set developed by Azorin consist mainly of four large billiard tables that are arranged in different combinations or even hung up? And what is the role of the acrobats who climb the walls and take the audience's breath away (especially when a billiard table threatens to come loose) while the singers try to draw the audience's attention to their emotions?
Fortunately, Paco Azorin's "concept" did not compromise the musical performance even though the presentation of the protagonists was sometimes quite debatable (the shy first meeting between Alfredo and Violetta) and the characters sometimes 'drowned' in the aggressive group movements that Azorin imposed on the choirs.
Ekaterina Bakanova was the Violetta outlined by Azorin: an independent, strong woman who doesn't want to be a victim but who ultimately must accept her fate. Her clear and homogeneous soprano voice could gain in fluidity (coloraturas), but is expressive and her interpretation convincing. René Barbera cannot really make us believe in the young man from a good family, the shy admirer and wounded lover, but sings with a beautiful tenor voice, well-controlled with a clear timbre and dramatic power. For Giorgio Germont, Quinn Kelsey can deploy his impressive stature and his somewhat rough baritone. He is less the distinguished "père noble" than a vengeful father ready to take action. His conversation with Violetta makes very clear what his intention is, expressed with his ample, expressive voice. The three protagonists were surrounded by a fairly homogeneous ensemble in the smaller roles with the exception of Flora by Laura Vila and the excellent "Intermezzo" choirs prepared by José Luis Basso.
Riccardo Frizza led the orchestra of the Liceo of Barcelona in excellent form in a quasi-complete performance of the score (with cabalettas and second verses) which is rather exceptional today. Frizza respected the dramatic structure of the score, the emotions and the masterful orchestration.
Human Love, Love Divine was the theme of the concert in the Eglesia del Carme by soprano Nuria Rial, tenor Juan Sancho and the Capella Cracoviensis led by Jan Thomasz Adamus. Together they guided us through Händel's scores, alternating fragments from operas, cantatas, oratorios and odes in a well-constructed program, pleasant to listen to and crowned by "Happy we! What joys I feel!". That was the dreamed finale for the concert in which we could enjoy the musicality, the fresh voice, the expressivity and the disarming interpretations of Nuria Rial, alternated with the seriousness and the austere, sometimes somewhat too intimate turns of Juan Sanchez with fairly dark voice and the qualities of the musicians of the Capella playing on period instruments, with the woodwinds making a particular impression.
Back to the auditorium for a lyrical concert by tenor Juan Diego Florez, accompanied by the Orquestra Simfonica del Vallès, conducted by Guillermo Garcia Calvo and with the participation of soprano Ruzan Mantashyan. The program offered mainly fragments from operas that Juan Diego Florez is currently adding to his repertoire. So this time not "Ah! Mes Amis" from La Fille du Régiment by Donizetti but Tombe degli avi miei from Lucia di Lammermoor and as French operas Roméo et Juliette and Faust by Gounod and Manon by Massenet. Not Rossini but La Bohème by Puccini.
Ruzan Mantashyan gives Juan Diego Florez a reply and performs several arias as a soloist. As a whole a rather unexpected program, especially the overture to Mignon by Ambroise Thomas that opened the concert. The Orquestra simfonica Del Vallès proves to be a solid ensemble and conductor Guillermo Garcia Calvo as a attentive musician and a gallant accompanist. The chemistry between Florez and Mantashyan clearly works, giving us several passionate duets: "Nuit d'hyménée" from Roméo et Juliette, "Nous vivrons à Paris" from Manon and also "O soave fanciulla" from La Bohème, each ending with a passionate, long kiss!
The soprano is heard soloistically in Juliette's "je veux vivre", the jewel aria by Marguerite and "Si, mi chiamano Mimi". The orchestra also performs the intermezzo from "L'Amico Fritz" by Mascagni. A varied programme to which, as an encore, the inevitable "O mio babbino caro" for Mantashyan and a duet from "El Gato Montés" by Penella are added before Florez accompanies himself on the guitar in some Spanish songs. In this way, the Peruvian tenor illustrated the different aspects of his talent with a powerful, sometimes quite sharp voice, capable of beautiful nuances and subtle interpretations. He was a clearly committed partner for the Armenian soprano with an elegant silhouette, a fresh voice and interpretations that can and must still grow.
- WHAT: Festival Van Peralada (Catalonia)
- WHEN: 7, 8, 9 August
[embed]https://www.youtube.com/watch?v=PbHlS75PiwU[/embed]