The Bilbaina Association of Friends of the Opera advances with this year’s cycle and the Tutto Verdi project, of great importance within the cycle. In September it was the turn of Giovanna d’Arco, a great little known title, and in October, one of the most famous works of the Italian teacher:Rigoletto. Who has ever taken the hyperfamous La donna è mobile? Well, with this opera, as with all the top-ten music, or wonderful, or painful. But we've been lucky, and really, the version that the AOA brought was great, especially by the soloists. Despite the good production of the ABAO and the Sao Carlos National Theatre of Lisbon, it was not the best of the performances of the play. Simplicity is often very applauding, but the boundary between simplicity and poverty can be very fine, and in this case little can be said of the scenography: lighting well, clothing too, nothing else. We miss a little bit of visual impact. Still, we were able to taste the musical virtues. And I'm going to focus on that.

Miguel Ángel Gómez Martínez graciously led the Bilbao Orkestra Sinfonikoa. This director, known and loved among us (years ago he was the head of the Basque Orchestra), brought him well together (although sometimes with too much courage, because he covered the voices). The Bilbao Opera Choir has also been a finalist. But we had luxury soloists. Romanian soprano Elena Mosuc gave us a unique Gilda. Delicate, credible, interpretative; and very suitable for your vocal thesis. He has a vocal dominance of the character, which gives him the freedom to give him a fresh version. He received a lot of applause and braves, very deserved. However, despite being the star of the Mosuc programme, special mention should be made of the performance of the tenor Ismael Jordi in the character of Duca di Mantova. His interpretation was radiant at every moment. He was a disciple of Alfredo Kraus and is very noticeable. An elegant broadcast, a sweet voice in all records (just pity the value obtained in the last note from La donna è mobile). And if everything has to be said, it has an impeccable presence on the board to represent the role of any gallon. Perfect. On the other hand, Leo Nucci, in the role of Rigoletto, was very solid, gave depth to the character. And the mezzo Iryna Zhytynska (replacing María José Montiel, who suffered an accident in her performance on the 22nd day) made a beautiful Maddalena, of great personality.

Action worthy of applause.