The dark tones and the voltage charged environment, where most of the characters move like shadows, the staging of the Macbeth by Verdi, the Italian Elena Barbalich conceived in 2007 for the Theatre São Carlos National back from Saturday (at 20h) to occupy the stage of Lisbon theater, this time with a new cast that has in the demanding lead roles soprano Elisabete Matos Portuguese and Spanish baritone Àngel Òdena.
The musical direction is Domenico Longo and the cast includes the participation of Enzo Peroni (Macduff), Giacomo Prestia (Bank), Marco Alves dos Santos (Malcolm), João Oliveira (Medical) and Barbara Barradas (Aia Lady Macbeth) among others. With five recitals until 1 March, this is another one of the titles that Paolo Pinamonti recovered for this season as artistic adviser, a position he however abandoned as incompatible with the direction of the Teatro de La Zarzuela in Madrid. However, it remains the void in the artistic direction of single lyric theater Portuguese and the unknown on your schedule from June.
Macbeth was the first of three Verdi operas based on plays of William Shakespeare, marking a turning point in his career. The exceptional nature of their source of inspiration, including unusual features in the Italian production of the time (as the supernatural themes, patents in witches, spirits and apparitions), led him to try to also write a work out of the ordinary. In 1846 he wrote to his librettist Francesco Maria Piave: “This tragedy is one of the greatest creations of man! If we can not do something great with it, at least try to do something out of the ordinary. “
The history of unquenchable thirst for power orchestrated by Lady Macbeth and the spiral of violence that triggers to eliminate all that may jeopardize the prophecy of the witches that Macbeth will be king of Scotland is well known and is a huge challenge for the protagonists interpretive singers, both at the technical level, as the characters of psychology. This is the third time that Elisabete Matos plays the role of Lady Macbeth, which the singer describes as “a woman who, more than evil, can be considered Machiavellian as it is someone who lets himself be dazzled by the power so it does not look the means to achieve their ends. “The singer emphasizes that she is the common thread of all the action. “At your side Macbeth, who is a man of a personality a little mutant weaker. There are times when it does not have enough strength and it is she who has to get their hands dirty, so he can continue. Your great strength and temperament must be reflected in Macbeth, and the engine all situations and is not in vain that reaches the end and goes crazy. “
The excitement at the possibility of power is also related to a strong relationship erotic. “Sex and the attraction on the one hand, and violence on the other, are two sides of the same coin in their relationship,” says baritone Àngel Òdena. “The fascination with various forms of power (territorial, economic and sexual) is very topical and timeless. In medieval times was more direct, now more Makeup Artist, but the issues are the same, “the baritone.
In addition to the psychological need to build the characters, Lady Macbeth and Macbeth represent different vocal challenges . Elisabete Matos explains that the female character is quite complicated musically and requires a very wide tessitura. “There are moments of coloratura, of very strong moments, moments of great vocal range. But Verdi is so big and so great that Shakespeare are all the ingredients there. It is a matter of translating on stage every nuance and color changes that are already in the score. “
With regard to Macbeth, Àngel Òdena says that” there is Verdi’s characters with a more acute tessitura for baritone and a more difficult voicing than this “but” as it is a very long paper requires great strength. ” This is his second production of Macbeth , but is convinced that by the end of his career will continue to have things to discover in this paper. The Catalan baritone, who has Elisabete Matos opposite in several productions in Spain (as the opera La Dolores , Tomás Bretón, and the Lohengrin Wagner) states that it is a very rich character in detail that needs a lot of ripening time.
“Verdi has more ‘belcantistas’ operas such as the Traviata , the Rigoletto and Il Trovatore , but Macbeth is quite different. Meeting points in common between Iago (the Otello ) and Macbeth. I situate this nearest work of Otello even though it was written many years before. Verdi wanted to do something different than he had done so far and one of the reasons was that from a Shakespeare play. “Àngel Òdena says that dedicated to see parts of the play Shakespeare on Youtube while preparing the paper, that gave you some ideas. However, unlike drama in which the actor may titrate their recitation times, opera time is given by the music. “I tried to focus too much on text and Verdi’s music and from there to create the character. There is a developing growing. At first the idea of killing is still a little vague to Macbeth, the witches appear and do not quite know what they’re saying … but from there everything will tangling and anxiety becomes bigger and bigger. “
Also Elisabete Matos is concerned always know the literary sources underlying the work. “I always try to approach me as much as possible, both the original novel or play, if any, as the entire environment of the period in which it becomes action. One must know how to move, how to react. We are no more than mere interpreters and have a duty to investigate as possible. The beauty of our profession is power from a base, but can then use multiple paths “
The singer has just sing Isolde in Toulouse -”. One too dramatic role dificilíssimo but that gives an incredible satisfaction after to make Isolde could fail to sing! “- so had very little time to make the transition to Lady Macbeth, but this is not your usual way of proceeding. “I’ve never had suicidal attitudes. What has allowed me to sing Verdi, Wagner, the verismo, Turandot, etc … is careful to always give the right time interval between the works. Even approach a play and then go back to something more lyrical to see if I still have the desirable flexibility in this repertoire. This is to assess whether I am on the right track. “One of his greatest challenges ahead will be your first approach to Brünnhilde The Valkyrie , Wagner. “I’ve done in concert version the end of the Twilight of the Gods , but I will start slowly now with the whole paper. Little by little we will evaluate it turned to make all the Tetralogy. “As for Angle Òdena will do for the first time the role of Rigoletto in 2017 and has return to Don Carlo, another opera that love as the entire repertoire of Verdi.
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