Donizetti Opera L’elisir d’amore organised by ABAO

Bilbao Orkestra Sinfonikoa (Director: I. López-Reynoso) and Bilbao Opera Choir (Director: B. Dujín).
Soloists: J. Prieto (tenor), E. Sancho Pereg (soprano), P. Ruiz (barítono), P. Bordogna (baritone), M. Ubieta (soprano).
Where: Euskalduna Palace (Bilbao).
Date: 18 November.

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For this second release of the AOA season, we have been given one of the favorite titles of the public. Light opera in her plot, nice and full of good values, and wonderful in her melodic richness.

That same and much more is L'elisir d'amore de Gaetano Donizetti. A beautiful opera, with the right interpreters, which can be a real joy for the ears, although we have heard it and seen it many times.

On this occasion we had the opportunity to enjoy a good, nice but not great representation. The truth must be told. Nothing was out of place, it's true, but nothing caught our attention. That is also true.

We had good soloists, but we waited a little longer for them. Joel Prieto is undoubtedly a young Spanish-Puerto Rican tenor with a nice voice. But it also has a small technical problem that prevents your greetings from being clear. It was clearly perceived that the color of the voice changed in the changes of record -- medium, fairly nice, sharp, different colors -- which artificially gave the interpretation, which nothing helped. On the other hand, his actions were inexpressive. In the famous tear A furtive, singing was flat and without the expected nuances.

Elena Sancho Pereg showed a nice voice. It has the tesitura of a lyric soprano, charming, very crystalline. However, I believe that his voice is not broad. It stays small. With a good voice, don't "fill" the theater.

Perhaps one of the best nocturnal interpretations was that of the baritone Pablo Ruiz, in the role of Belcore. The singer showed a round and powerful voice, as well as an interpretation of simplicity. It premiered at ABAO, but surprised the audience.

Italian baritone Paolo Bordogna was very effective in Dulcámara’s bufo role. Also, soprano bilbaina Marta Ubieta filled Giannetta's role with freshness.

The Bilbao Orkestra Sinfonikoa, under the direction of Ivan López-Reynoso, was adjusted but with some noise excesses. Moreover, the production set in Italy in the 1950s gave a different touch to this opera, which, despite the circumstances mentioned, could be seen with great pleasure.