It is a pleasure to be able to enjoy two works of the twentieth century that deepen the soul of women in the Euskalduna Palace. Rarely will we be able to listen to these short, live and arguably hard operas, because they're actually rarely programmed. And the truth is, we can't understand why they're not staged more often, both from a musical and literary point of view, because they're remarkable and very interesting works.

In short, at the Euskalduna Palace we have seen disappointments, emotional dependence, infidelity, regret, betrayal -- all those feelings that invade us almost all at one time or another. And those feelings have not been analyzed by anyone, but by authors like Jean Cocteau and Oscar Wilde.

In La voix humaine, Cocteau tells us about the degradation process of a woman devastated, tormented by the subordinate love she feels, tied to a man, lost of freedom and dignity. Although this is a work released more than sixty years ago, the depth of the text is so great that it penetrates us into the interior of the soul. In addition, the sweet music of Francis Poulenc, dyed with a certain coldness, makes a shocking whole. The interpretation of soprano Nicola Beller Carbone, expressive, agile, very credible, rounded the session. Ten points, really.

On another plane, in terms of treason, infidelity and repentance, we saw Beller Carbone once again representing the role of Bianca in the opera Eine florentinische Tragödie (with text by Wilde) by Alexander von Zemlinsky. It is a very short piece, barely an hour long, in which the three interpreters, soprano, baritone and tenor compete and collaborate to create an authentic musical and interpretative tension. Again, the performance of Nicola Beller Carbone I think is great. His strength not only conceives us as a musical, but as an actor who passes through all the emotions proposed in this text. And both tenor Giorgio Berrugi in the role of Guido, Bianca's lover, and baritone Carsten Wittmoser in the role of Simone's husband, the protagonist, besides showing his vocal rounds, made an expressive alarming in which the rigor, irony and rage of his characters appeared in a subtle way.

The Bilbao Symphony Orchestra, under the direction of Pedro Halffter, acted correctly, highlighting the action but without prominence. I noticed, but I didn't invade it. All right.