Opera Romeo et Juliette de Gounod organized by ABAO.
Soloists: Nadine Sierra, Javier Camarena, Andrzej Filonczyk, Marko Mimica, Anna Alàs Jové, Fernando Latorre, Alejandro del Cerro, Ixaro Mentxaka.
When: 21 October.
Where: Basque Palace of Bilbao.

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Romeo and Juliet's story is a universal classic, which never goes out of fashion and which everyone knows. A perfect story to reflect in an opera. The funny thing is that an opera with such a beautiful and well-known libretto, in addition to music from the melodic richness of Gounod, is not one of the most represented. Unfortunately that is the case.
But we were lucky and by the beginning of season 72 of the AOA we found this jewel of the operatic repertoire. A gem based mainly on the qualities of the protagonist couple, which has undoubtedly had a great success in Bilbao.

This opera couldn't work with two soloists who don't have a special glow. It would fail. But the ABAO has presented an excellent partner, not only because each soloist is like this, but because the interaction between them was especially electrifying.

It was performed by the Mexican tenor Javier Camarena, very popular and admired among the listeners of the ABAO Romeo, with a beautiful tone of voice and a highly natural broadcast. This allows it to give special naturalness and credibility to its interpretations. Romeo gave him immense freshness. Their agile, clean and easy listeners fell in love with.

The great soprano Nadine Sierra brought Juliet to life. He first participated in ABAO and achieved absolute success. And very well deserved. He showed the dominion and the reluctance of his voice. Thanks to her expressive ease, the singer gave a special aura to personaje.Nos left open in films like Je veux vivre or Air du poison. The audience applauded the singer as rarely at the end of the performance.

The rest of the soloists acted at a very good level, but surely the action of Anna Alàs should be highlighted. Stefano is a mezzo that gave life to the character, with an excellent voice, with a beautiful bell and a special interpretative grace. That fais-tu blanche tourtelle was a very welcome moment.

The production designed by Giorgia Guerra was, in general, pleasant and prepared an effective and fairly common staging solution in recent times: projections on three large panels and a moving central block (tower, bedroom, chapel...) that was considered suitable depending on the dramatic moment. The succession of images was aesthetically attractive (gothic windows, architectural plans...), combining well the whole throughout the work.